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ENGLISH STUDIES 

(No. I.) 



THE ASSEMBLY OF GODS: 



OR 

THE ACCORD OF REASON AND SENSUALITY IN THE 
FEAR OF DEATH 

BY 

JOHN LYDGATE. 

EDITED FROM THE MSS. WITH INTRODUCTION, NOTES, INDEX OF PERSONS AND 

PLACES, AND GLOSSARY. 

BY 

OSCAR LOVELL TRIGGS, M.A., Ph.D. 



CHICAGO 

Cte ^anfbirsitB of (tttiicago ^tega 

1895 



Aionograpn. 



The Department of English Language and Literature and 
Rhetoric of the University of Chicago will publish, as an 
organic part of its work, a series of monographs, written from 
time to time by its Instructors and Students. 

Of this series the present study, Lydgate's Assembly of Gods, 
edited by Dr. O. L. Triggs, Docent in English Literature, is the 
first number. 

The work is published by the University of Chicago, in con- 
junction with the Early English Text Society, of London, and 
will constitute one of the regular issues of the English Society. 




MEDIEVAL FIGURES OF DEATH (DRAWN FROM ANCIENT PRINTS). 



Ef)t Bnibetsitg of <Ei)icaso 



ENGLISH STUDIES 

(No. I.) 



6^r 

To -> ;? 



THE ASSEMBLY OF GODS: 

OR 

THE ACCORD OF REASON AND SENSUALITY IN THE 
FEAR OF DEATH 

BY 

JOHN LYUGATE. 

EDITED FROM THE MSS. WITH INTRODUCTION, NOTES, INDEX OF PERSONS AND 

PLACES, AND GLOSSARY. 

BY 

OSCAR LOVELL TRIGGS, M.A., Ph.D. 



CHICAGO 

Cte ^anibersitB of aii)icago ^ress 

1895 







DEDICATED TO MY MASTER 

CHANCELLOR GEORGE EDWIN MacLEAN 

WITH HUMBLE AFFECTION. 

Qlti 



The UniTersity 



PREFACE. 

This edition of Lydgate's Assembly of Gods serves a double pur- 
pose. It is, first, a study in literature conducted at The University 
of Chicago, a part of the work having been first offered in candi- 
dacy for the degree of Doctor of Philosophy ; it is, second, a study 
of an English text undertaken for the Early English Text Society 
of London. The two institutions are associated in the publication. 
The critical and linguistic parts of the work and the notes are as 
accurate and comprehensive as I am able to make them with the 
materials at hand. The hardihood of venturing to work upon 
ancient and foreign matters in a land that has no past at its back, 
that neither possesses antiquarian materials nor engenders anti- 
quarian enthusiasms, will be appreciated by those who, like myself, 
have made the endeavor without what one may call a traditional 
training for the event. 

The literary discussion of the Introduction maintains the gen- 
eral interest that any work of .iiCerature is wont to arouse. This 
portion represents the reaction --.which the poem made upon my 
mind with its own knowledge o^rnedi^Eval life and art. While this 
part is necessarily somewhat pedantic I have tried to maintain my 
natural interest in literature as an exponent of life, as the expression 
of the imagination. The study of Allegory is a selection and con- 
densation of materials that I have gathered for an extended history 
of Allegory. 

Every one who works in Lydgate will find himself indebted at 
every turn to the investigations of Dr. Schick, now of Heidelberg, 
who edited the Temple of C/r?.- — indebted not only for matters of 
fact but also for judgments of critical and literary insight. Workers 
in the same field will bear witness to the value of the edition of 
Lydgate and Burgh's Secrces of Old Philisoffres by Mr. Robert 
Steele, of London. For the facts relating to Lydgate's life and 
works, reference may be made to the very accurate and complete 
article on Lydgate by Mr. Sidney Lee in the Dictionary of National 
Biography. 



iv Preface. 

At home I have every reason to be grateful for the encourage- 
ment and assistance given by Dr. George E. MacLean, formerly my 
teacher in the University of Minnesota; also for kindly help ren- 
dered by Professors McClintock, Blackburn, and Tolman, of the 
Department of English in The University of Chicago. Dr. Klaeber, 
of the University of Minnesota, has performed the offices of a friend 
in reviewing the proofs. My brother, Mr. Flloyd W. Triggs, has 
drawn from old prints the figures of Death for the frontispiece. 

To Dr. Furnivall, the veteran Director of the work of the Early 
English Text Society, every one is indebted. 

Oscar Lovell Triggs. 

The University of Chicago, 
October 2, 1895. 



CONTENTS. 



Preface 
Introduction 



Chapter I. 

A. The Manuscripts — Texts A and B - - - 

B. The Prints— Texts C and D - 

Chapter II. 

A. The Title - 

B. The Authorship and Date ... - 

Chapter III. 
The Metre— The Types A, B, C, D, E, F, G, H 

The Mixture of Free and Regular Stress 

Chapter IV. 
The Rime — (i) End-Rime . - . . . 

(a) Identical Rimes - 

(b) Imperfect Rimes 

(c) Feminine Rimes - 

(d) Medial ^/i . . . . 
Rime-Index .... 

(2) Alliteration - - . . . 

Chapter V. 
The Rime and the Final e - - - - - 
(i) The -y -ye Rimes . . . . . 

(2) The Infinitives among the Riming Words 



Chapter VI. 



The Language 

A. Vocabulary 

B. Grammar 



in-iv 
vii-lxxvi 



VII 

ix 



XIV 

xix 



XXI 

xxi 
xxi 
xxi 
xxii 
xxii 
xxix 



xxx 

XXX 

xxxii 



XXXV 
XXXV 



Contents. 

Chapter VII. 
The Poem 

A. Literary Analysis ------- xxxvii 

B. Literary Studies ------ xl 

(i) The Religious Character of the Poem - - xl 

(2) The Fear of Death and the Scorn of the World xliii 

(3) The Conventional Materials ... \ 

(4) The Season motif ----- Hij 

(5) The Vision ------- Iv 

(6) Proverbial Phrases ----- Ivi 

(7) The Painted Wall . . - - . ivii 

(8) The Admixture of Pagan and Christian 

Traditions ------ iviii 

(9) The Allegorical Type ----- Lx 

(10) The Relationship between the Allegory and 

the Moral Play ----- ixi 

(11) The Allegory of the Vices and Virtues - - Ixiii 



Text 

Notes 

Index of Names and Persons, and Glossary 



1-61 

77 



INTRODUCTION. 

CHy\PTER I. 
A. The Manuscripts. 

I. Text A=R.j. ig, Trin. Coll. Cai?ib. — This is a quarto volume, 
in paper, in handwriting of the second half of the fifteenth century. 
It contains poems by Chaucer, Lydgate and others (v. Skeat, Chance?-'' s 
Minor P. p. xliv. Trin : Legend of Good Women, p. xl. T. Skeat 
dates the MS. before 1500). The earliest possible date for 
the volume is fixed by a poem written by Geo. Ashby, entitled 
Prisoner in the Fleet, and dated 1463. The present poem occupies 
fols. 68a-98a. A table of Interpretations (v. Text p. i) pre- 
cedes the poem. The volume belonged formerly to John Stowe 
and was the source of most of Stowe's additions to Chaucer (Skeat). 

This is the earliest and the only authoritative MS. known to me, 
and its readings are followed with but a very few emendations in 
the present text. The following are the textual changes made : 
Eolus is printed for the Coins of the MS.; Morpheus for Morpleus; 
in feere 166 for feere ; Phebe 243, 566 for Phebus ; foom 104 for 
from ; presse 256 for preef ; she 412 for he; best 634 for bost ; 
ther 635 for the ; hys 815 for was; be 875 for he; comparyson 
891 for a form not clear in MS.; with 976 for without ; fly C185 for 
sty; macrocosme 1420 for macocrosme ; omnipotent 1467 for 
omnipotens. The punctuation and the capitalization of proper 
names are mine. 

The orthography is highly unphonetic, the most marked charac- 
teristics being the confused uses oi y and /, and the arbitrary doubling 
of vowels. Y is either long or short : wys, whyle, myne ; but ys, 
hys (also his), yn (also in), hyt (also hit), wyth (also with), tyll, wyll, 
lytyll, shyp, fysshe, sylvyr, knyghtes, syttyng, begynne, etc. ; i is 
used in king, philosophres, scisme, idylnesse, Diana, Cirus, Virgyle. 
The scribe wrote indifferently se or see, fle or flee, fre or free, so or 
soo, do or doo, wo or woo, mo or moo, whos or whoos, none or noon, 
hope or hoope, hole or hoole, sore or soore, holy or hooly, wordes 

vii 



viii The Matiuscripts. 

or woorde, god or good, ost oost or boost, blood or blody, sone or 
soone ; regularly — deere, leede, scene, seere, reepe, roote, poore, 
aboorde, stoode, goold, roode, woode, broode, stoon, loob, etc. 
Final e (inorganic) is written with no regularity, occurring after 
short as well as long vowels. The consonants generally follow the 
rule of doubling after short vowels. 

2. Text B-=BibL Reg. 8.D. II, Brit. Mus. — This is written in color 
on vellum and in two parts. The first part, in a 15th century hand, 
contains Lydgate's Siege of Troy (5 books) and Siege of Thebes 
(illustrated). The second part, beautifully written and illuminated, 
is early i6th century work and contains a Treatise betiven Trowthe 
&> Enfortnacion by Will Cornish, an Elegy by John Skelton, Stanzas by 
Lydgate, his Testament and Assembly of Gods. The latter poem is 
indexed in the MS. as Discord between Reason and Sensiialitie. 
This MS. does not differ materially from the Camb. MS. except in 
its omission of the table of Interpretations. It is, however, most 
probably a copy of the print by Wynken de Worde (G.i 1587), 
since it follows that print most closely in orthography and in the 
omission of line 812. 

The chief variations of this text from A are given in the follow- 
ing collation. A few variants are given from Print D. To indicate 
the differences in orthography the variations of the first fifty lines 
are recorded complete. 



I. hys I his. 2. toward | towarde ; iourne | iourney. 3. speere | spere ; 
begonne | begon. 4. syttyng | sittinge ; solytary | solitary ; alone | allone. 5. 
musyng | musinge ; myght | might. 6. sensualyte | sensualite ; con | one ; acorde 

I accorde. 7. cowde | coude ; nat | not ; bryng | bringe ; about | aboute. 8. long | 
longe ; myght | might; oppresse | oppres. 9. cowde | coude. 10. heede | hede ; 
heuynesse 1 heuynes. 11. myn | myne ; habytacle | habitacle. 12. pylow | pilow. 
13. dyssese | disease. 14. anone | anon; came | cam. 15. so lay | soo lave; 
traunse | traunsse. 16. slepyng | slepinge ; wakyng | wakinge. 17. seyde | 
saide. 18. gret | grete ; court | courte ; iustyse | iustice. 19. auaylyd | auayled; 
sylogyse | silogyse. 20. hit | it; ys ] is; seyde | saide. 21. nedys | nedis. 22. 
when I whan ; sy | see ; bettyr | better ; must | muste. 23. seyde | saide ; hys | 
his ; co;«maundment | commaundemente. 24. whedyr | wheder ; wold | wolde ; 
leede | lede. 25. forthe | forth. 26. tyll | till ; paHyament | parliament. 29. the- 
dj'rward | thederward. 30. h^'s | his. 31. seyde thow | saide thou. 32. seyd | 
saide. 33. heuen | heuyn ; outher | either ; elles | ellis. 34. seyde | saide ; myn [ 
myne ; abydyng | abidinge. 35. ys | is ; 13'tyll | litill ; corner | cornoure ; callyd | 
callede. 36. these wordys | thes wordes ; sayd | saide. 37. hys | his. 38. raggys 

I raggis ; arayd | arayde. 39. agayn | agayne ; whom | whome ; Diana | Dyana. 
40. seying | sayenge ; thow ] thou. 41. yeue [ gyue ; ageyn | ayen; soo | so. 



The Prints. ix 

42. preyse | preise ; lord | lorde. 43. proclamasion | proclamacioun. 44. Plutoys 
Plutos ; cowmaundyd | commaundede. 45. vppon | vpon ; peyne | payne ; 

strayte | straite. 46. Diana | Dyana ; myght | might. 47. greefe | gref ; gret | 
grete. 48. theym | theyme ; done | do; they | ^ei; compleynyd | cowpleyned. 
49. begyn | begynne ; Diana | Dyana ; constreynyd | constreynede. 50. whyche 

I whiche. 56. yef | yf. 57. howe | hou. 70. thorough | thorugh. 71. syngler 

I synguler. 72. shuld | sholde ; world | worlde. 73. dyspleser | displeasure. 77. 
yeue | omitted. 94. yow | you. 98. thorough | thrugh. 99. furst | first. 102. 
ferre | fer. 103. merueyle | meruaill. 104. from | come. 107. ebbe | eb. 109. 
dykes | dyks. 117. 00 | one. 130. perysshe | perish. 132. pepyll | people. 
135. requyreth ] req?<?ret. 155. vs | hus. 166. feere | infeere. 183. togedyr 

I togider. 186. alther | alder. 210. owne wele | one well. 216. pyne | 
payne. 217. grogyng | grutching (D = grutchyng). 228. eft | oft. 233. lak | lacke. 
234. cese I sease. 235. mery | mercy. 248. compaygnably | companably. 256. 
preef | presse(D = presse). 269. good | god. 283. fawchon | fawcon. 325. frese 

I frele (D = frese). 337. was then | than was (D = than was). 348. sythe | shithe. 
355. chase | chose. 361. Phebus | Pheby. 434. forthe | for. 449. sewerte ] 
suerte. 462. sinete | smote. 473. cosdras ] coldras. 480. owther j eyther. 513. 
leyte | lightnynge. 520. woll | will. 535. drowthe ] drought. 569. I hope shall 

I I hope I shall. 587. defaute | the faute (D = the faute). 607. at | omitted 
(D omits at). 634. host | best. 648. foule rybaudy | foule and rybaudry (D has 
and). 673. braggars | kraghers. 721. for sowght he | forsoth it. 753. to do a | to 
a. 763. row I route (D=rowe). 773. wore | were. 812 | omitted. 815. was ] 
and. 825. standardes | standartis. 875. he | be. 966. haue ye lost | haue lost 
(D omits ye). 970. guytornes | guytors. 974,981. dubbyd | doubled (D = doubled). 
1094. rerewarde | reward. 1113. mervt | might (D=myght). Ii6i.she | he. I185. 
sty I fly. I20I. as they came by Conscience ] as thei to C. cam (D follows B). 
1243. bende | ben (D — ben). 1358. kept | kepe (D=kept). 1373. menetyme 
whyle I meanewhill. 1467. omnipotens | omnipotent. 1516. singlerly | sywgulerly 
1537. awter | aulter. 1538. Osee | Ozee (D = Ozee.) 1539. Salwon | Salamon. 
1591. brayne | barayne. 1701. shall | sail. 1705. nouelte | newelte (D=newelte). 
1744. deuyacion | deuocyon. 1806. gnawyng | knawiwge. 1854. tryfyl | triphells. 
1858. sauns I sauns (D^sanuz). 1975. a a | aha. 2020. dowtys 1 doubles. 2062. 
accusacion | actuacyon. 2103. descendyd | desce«deth. 

B. The Prints. 

3. TextC—G. 1 1 587. Brit. Mies. — This is the first print of the 
poem by Wynken de Worde, a folio dated 1498. It is an unique copy. 
It contains the Canterbury Tales and Lydgate's Assembly of Gods. 
Lydgate's "treatyse" is printed in double columns on the last 15 
leaves without pagination. On the recto of the first leaf is a wood- 
cut of the Canterbury pilgrims seated around a table. This print 
is especially valuable in that it assigns the work to Lydgate in the 
colophon: "Thus endeth this lytyll moralized treatyse compiled 
by dan lohn Lydgat somtyme monke of Bury on whose soule 



X The Title. 

have mercy." The print has commonly the readings of MS.B. It 
omits line Si 2 but has the table of Interpretations. 

4. Text D^^C. I J. a. 21 . King's Collect. Brit. Mi/s. — This print is 
also by W. de Worde and of about the same date as the first. The 
Catalogue of the Brit. Mus. and Mr. Lee {Biit. Nat. Biog. Vol. 
XXXIV, p. 313, V.) give the date 1500, but Dr. Schick, on the 
authority of Mr. Gordon Duff (Brit. Mus.), says it is earlier, perhaps 
1498. It contains Lydgate's Story of Thebes, Assemble de dyciis and 
Temple of Glas (v. Hazlitt, Bibl. p. 358, No. 3 under Lydgate; 
Schick, Temp, of Glas, E. E. T. Soc, p. xxvi, 9). This print exhib- 
its no notable changes in the text. It follows most closely MS. A. 

5. Later reprints by Pynson and Redman, under the title "The 
Interpretacyon of the Natures of Goddys and Goddesses," show no 
important textual differences (v. Hazlitt, Bibl. p. 358, No. 4 (b) 
(c) (d). Redman's last edition is dated 1540). 



CHAPTER II. 
A. The Title. 



W. de Worde's second print (D above) has the colophon : 
"Here endeth a lytvU Tratyse named, Le Assemble de dyeus.''^ This 
is followed by de Worde's imprint and, on the following page, by 
the cut of the Chaucer pilgrims seated about a table, also entitled 
Le Assemble de dyeus. Redman's late reprint (1540) ends with the 
colophon : " Here endeth a Ivtyll treatvse named the assemble of 
goddis and goddesses." The catalog of Lydgate's works, probably 
made by John Stowe for the Chaucer-Lydgate volume, printed by 
Adam Islip in London in 159S and 1602, includes the Banket of 
Gods and Goddesses with a discourse of Reason and Scnsualitie by 
Lydgate (ed. 1602 fol. 376; ed. 1598 fol. 394). 

In the Camb. MS. the title, in the handwriting of INIr. Beauprei 
Bell (Camb. c. 1727), is given as Assembly of Gods a /id Goddesses by 
Lydgate. The Brit. Mus. MS. is cataloged as Discord between Beason 
and Scnsualitie. Lowndes {Bibl. Bohn Lib., p. 1419) uses the title 
Banquet of the Gods. Ritson {Bibl. Poet) lists the poem apparently 
twice, as The interpretation of the names of goddes and goddesses (No. 
13) and probably confusing \\.\\\\\\ Reason and Sensuality {Faiviax 
16), as Banket of gods and goddesses with a discourse of reason and 



The Authorship and Date. xi 

sensualitie (No. 113). Bale, probably noticing the list of Interpreta- 
tions prefixed to W. de Worde's print, enumerates among Lydgate's 
writings, De Notninibus Deorum. Collier {Hist, of Dram. P. I., 
p. 30) refers to the poem under the title. Interpretation of the names 
of Goddcs and Goddesses. Schick, in his chronology of Lydgate's 
works {Te7!ip. of G /as cix.), adopts the title, The Assemd/y of Gods; 
and so, following him, Dr. Furnivall in the Early Eng. Text 
Society's Announcements, Sidney Lee in \\\& Diet, of Natl. Biog. 
(Vol. XXXIV., p. 313, v., 18) and Mr. Courthope in his History 
of English Poetry (L p. 322). We may suppose, on the authority 
of W. de Worde's print, that this was Lydgate's own title. It is not, 
however, a sufficient title as titles go, inasmuch as it does not express 
the central moral of the story. A truer name would be the Aecora 
of Reason and Sensuality. 

B. The Authorship and Date. 

I. Tlie authorship. The external testimony is in itself quite suf- 
ficient to establish the fact of Lydgate's authorship. W. de Worde's 
first print (C) ascribes the work to our monk of Bury in the colo- 
phon : "Thus endeth this lytyll moralized treatyse compiled by dan 
lohn Lydgat somtyme monke of Bury on whose soule have mercy." 
All the early lists (of Bale, Dibdin, etc.) agree in the assignment. 
Collier, in his History of Dramatic Poetry (Vol. I., p. 30), 
printed, for the first time since the black-letter copies, a few stanzas 
of the poem, referring the work to Lydgate. Dyce, in his notes on 
Skelton's works (p. 144), makes the same reference. The MS. was not 
known to Warton or Morley. A definite reference to our poem is 
found in Hawes's Pastime of Pleasure (Chap. XIV.). Hawes was a 
pupil of Lydgate and recounts as the works of his master, the Life 
of St. Edmund, Ealls of Princes, Chorl and Bird, Court of Sapience, 
Troy Book, Temple of Glas : 

" And betwene vertue and the lyfe vycvous 
Of goddes and goddes[ses] a boke solacyous 
He did compyle." 

This must refer to the Assembly of Gods. 

That Lydgate's name was associated with the battle of the vices 
and virtues is further indicated by the "extemporal play" of the 
Seven Deadlie Sinns, contrived by Richard Tarleton and performed 
before King Henry VI. (v. description by Collier, Hist. Dram. P., 
III., p. 198). Our monk Lydgate (here spelled Lidgate) is supposed 



xii The Authorship and Date. 

to regulate the performance, to deliver the prolog and epilog and 
to explain the dumb shows. 

As to internal evidence Lydgate's finger marks are all here ; the 
monkish piety, the moralization, the allegory, the way in which he 
dwells upon the themes of death ; then his stock words and phrases, 
especially those repeated to fill up the lines (v. notes and Tctnp. of 
Glas p. cxxxvii.) the irregular lines (cf. Secrees), the rime-forms, and 
the peculiar Lydgatian metre (type, C. p. xvi ; v. Schick, Temp/e of 
Glas, Win); further, the saying of things as if " undir correccioun" 
(cf. Secrees, p. i, 2), the self-depreciation in confessing his thin 
brain (text, 1. 1591) and thin wit (text, 1. 1997) and the request to 
take the very little wheat from the much chaff of the poem (text, 
1. 2071-2; cf. Secrees, p. xx. and Temp, of Glas, p. cxl). Lydgate 
is one of the easiest poets to detect for his conventional manner. 

2. The Date. So far as I am able to determiine from a study of 
the contents there is nothing to indicate the exact date of the 
poem's composition. The allegory of the poem is wholly removed 
from historical place or time. Dr. Schick conjectures the date 
1403. In consideration of the general temper of the work, quite 
prosaic one must allow, the nature of the allegory, and its domi- 
nant note of death, I am inclined to assign its writing to Lydgate's 
second period, that is, after 1412 (the date of the first lines of 
the Troy-Book), as far removed as possible from the genial influence 
of Chaucer which is so distinctly traceable in the monk's early works. 
As a youth Lydgate was loath to enter the monastic life, and the 
poems of his first period have a freshness, a humor, and a love of 
nature, that belong to the world outside the cloister. But we have 
the proof of the Legends and Secrees and the Testament that, as 
he approached age, he grew more pious and more prosaic. The 
Assembly of Gods is the work of a thorough Benedictine both in 
theory and in practise. And there is a positive lowering of the 
poetic tone. There are no plaints of lovers, not a word about the 
"floure of womanhede," not a happy thought of nature. Life is 
grown serious, and the monk, anxious concerning the battle with 
Vice and earnest to direct sinners to the Lord of Light, writes 
in the repentant prayerful temper of the Testament. 

In arguing for an earlier date it would be true to say that the 
influence oith&I^omauntof the JRose'is somewhat evident in the alle- 
gory, and that the work is rather more original and creative than his late 
riming histories, and it appears in the classification of his works by 



The Authorship and Date. xiii 

Sidney Lee {Diet. Natl. Biog., Vol. XXXIV, p. 313, 31 4; that most 
if not all of the poems under the head of "Allegories, Fables and 
Moral Romances" were written before 14x2. 

On the other hand the decline in the Assembly of Goeis in 
poetic power is, as noted above, very marked, judging from 
his known early works. In poetic conception and phrasing 
the poem is in every way inferior to the Chorl aiiei Birel d.XiA 
the Temple of Glas; the one written before 1400 and dedicated 
to "his maister with humble affeccioun," the other written about 
1403 in imitation of Chaucer's Hoiis of Fame. There is not a line 
so poetic as these verses from the Temple of Glas : 

"A world of beaute compassid in hir face 
Whose peisant Joke do^ ^urugh myn hert[e] race" 755-6; 

nor a maxim so unworldly wise as these from the Chorl and Bird: 

"Songe and prison have noon accordaunce," Min. P., p. 183, 

and 

" Bettir is fredom withe litelle in gladnesse 
Than to be thralle withe al worldly richesse," Min. P., p. 193; 

not a moral so manly as 

" When wo approche^ lat myvp most habound, 
As manhood axe^ ; and ^ough ^ou fele smert, 
Lat not to manie knowen of ^in hert."- — Temple of Glas, 1 177-9. 

The theme also, notwithstanding its place among the allegories, 
seems to indicate a late date. While Lvdgate was always familiar 
with the thought of change and death, it being his frequent opinion 
that "all do but show a shadow transitory" and that " all stant in 
chaunges like a midsomer rose," it is fair to assume that the dread of 
death would be most dominant after the period of his youth. The 
i?rt:«(r^ (?/J/(Z(r<//;r(?, which is descriptive of the painting of Death's 
procession on the walls of St. Paul's, belongs to the second period, 
perhaps to the year 1425 (Schick, Temple of Glas, cxii); likewise his 
translation of De Deguileville's Pelerinage de /' Homme, repre- 
senting life as a pilgrimage somewhat in the manner of Bunyan's 
Pilgrim's Progress, belongs to this period, the year 1426. 

The proof from the metre and from the language is also, I think, 
on the side of a late date. The measure, very broken and irregular 
at one's best mending, is nearer the long lines of the Secrees than 
the very good verses of the Temple of Glas. There is also a change 



xiv The Metre. 

in the poetic phraseology, as will be seen by a study of the riming 
words, which change compels a date as near as possible to the time 
when the final e ceased to be spoken. Though, as to this, it is not 
impossible that Burgh or some other of Lydgate's pupils rewrote 
the poem as we have it in the text. Still it is not probable that 
anyone would alter the riming words. 

On the whole I should wish to assign the composition of the 
Assembly of Gods to about the year 1420 or perhaps, the Story of 
Thebes being finished, to 1422 or even later. In the absence of 
direct testimony, any more exact statement of the date must wait 
the publication of Lydgate's other works, which will furnish a surer 
basis for poetic, metrical and linguistic tests. 



CHAPTER III. 

The Metre. 



In the MS. the metre is very irregular. Of course little depen- 
dence can be placed upon MSS. of the fifteenth century, written 
after the final e ceased to be sounded. We know that many little 
words were inserted by the scribes, who regarded the lines as imper- 
fect. So whether Lydgate himself failed in this poem in his meas- 
ures or whether the fault is due to the scribes can not be determined. 
However, it does not appear that Lydgate in any of his poems was 
especially skillful in the mechanism of his art. He was himself 
aware of the imperfections of his verse, and in the Troy-Book he 
confessedly "sette asyde" truth of metre and took "none hede 
nouther of shorte nor longe." Moreover, none of Lydgate's pupils 
exhibit any especial grace of form. Burgh, his nearest pupil, 
readily acknowledges in continuing the Secrees that he is unable to 
keep his measures in time and proportion {Sec. st. 219). If we take 
Chaucer's line as the standard of melody, it is probable that 
Lowell's estimate of Lydgate's verse, a "barbarous jangle," is the 
correct one. Old French verse with its great variety of lines and 
measures (no less than sixteen — ^Skeat's Chancer, Vol. VI, p. Ixxxvii) 
and indeed Chaucer's own verse forms, may have given Lydgate his 
license to vary his metres at will. If we forego a fixed metre and 
read the lines with their natural accentuation, a fairly good rhythm 
is secured. 

Our present poem. The Assembly of Gods, is written in the com- 



The Metre. xv 

mon seven line stanza, which came to be known as the Rhyme 
Royal, riming ababbcc. The scheme of the Chaucerian stanza 
cannot be rigidly applied. Every liberty in respect of length of line 
and character of measure is taken by Lydgate. Some lines are 
bald prose. 

Type A. In the first place examples will be given of lines which 
seem to have five iambic measures with the cresural pause after the 
second measure. This may be called the standard-line form. 

43: Then was | there made || a proc | lama | sion. 
45: Vppon I the peyne || of strayte | correc | cion. 
57: Remem | bre furst || howe I | a godd | esse pure. 
163: For hys | excuse || came yn | a mess | ynger. 
750: And bade | hem come |] in all | the haste [ they myght. 
816: He semyd | a lorde || of ryght | gret ex | cellence. 
980: To Wynne | theyr spores || they seyde | they wold | asay. 
1026: Whyche made | the grounde |] as slep | yr as | an yele. 
1086: But all I the tyme || whyle Ver | tew was | away. 
1 146: And fro | thens forth || to Sat | ysfac | cion. 

I. The caesura in the standard line falls generally after the sec- 
ond measure, but Lydgate shifts its position at liberty. He has 
more freedom than Chaucer in this respect, though the latter is by 
no means regular in his pauses (v. Skeat's Chaucer, Introd. sec. 107). 
The examples here given to illustrate this variation include lines of 
different types (see below). The pause may fall 

{a) after the first measure : 

566: To compleyn |j than Phebe styrt vppon her fete. 
1504: Sate II & Scrypture was scrybe to theym all. 

{b) after the third : 
18: To the gret Court of Mynos || the iustyse. 
782: But the felde was clene defaute || fonde he none. 

{c) after the fourth : 

62 1: Pryde was the furst ^at next hym roode || God woote. 
879: And made hem be caryed toward Vyce || y wys. 

(^/) twice or thrice in a line : 
603: Wherfore || ^ow Cerberus || I now the dyscharge. 
1 23 1: Ys he soo || quod Vertu || well he shall be taught. 
1210: Well II quoth Fey the || for hys sake || I shall do that I may do. 
1377: Now Prayer |] efte Fastyng || & oftyn tyme Penaunce. 

Type B. An extra syllable may occur before the caesura and 
at the end of the line. Two such syllables may also occur before 
the caesura (v. 11. 38, 390, 808). 



xvi The Metre. 

{a) Before caesura : 

38: Brought theder Eolus || in raggys euyll arayd. 

160: Shape vs an answer || to thyne accusement. 

305: Rewler of knyghthode || of Prudence the goddese. 

390: There was sad Sychero ]| and Arystotyll olde. 

456: Thus haue I dewly || with all my dilygence. 

808: Next whom came Pacyence || that nowhere hath no pere. 

908: Well menyng merchauntes jj with trew artyfyceres. 

{b) At end of line : 
The form is comparatively infrequent (v. Chap. IV, c). 

9: So ponderously || I cowde make noon obstacle. 
12: To rowne with a pylow || me semyd best tryacle. 
60: Thys tray tour Eolus || hath many of my places. 
946: In thys mene tyme || whyle Vertu thus preuyded. 

Type C. The thesis may be wanting at the caesura. 

8: For long er I myght ]1 slepe me gan oppresse. 

68: So that the deere || shall haue no resort. 

85: Thow knuwest well |j that I haue the charge. 

87: No shyp may sayle 1| keruell boot ner barge. 
233; For lak of shade || I dar vndyrtake. 
279: And next by her || sate the god Saturne. 
600: No maner of thyng || can hym hurt nor dere. 
618: Hard as any horn || blakker fer then soot. 
806: Roody as a roose || ay he kept hys chere. 

I. This is a form almost peculiar to Lydgate (v. Schick, Temp, of 
Glas, p. Iviii. C), though Chaucer occasionally employed it (Skeat, 
Chaucer, Vol. VI. Introd., sec. no). It is easy however to read 
some of these lines with four accents; thus line 85 may read: 
"Thou knowest well that I haue the charge." Other lines, however, 
as 618, 87, etc., can have no other reading than that given. 

Type D. A thesis may be wanting in the first measure. 

17: For he seyde |j I must yeve attendaunse. 
106: Secundly || whereas my nature ys. 
124: That to theym || shuld fall opon the see. . 

197: Madame ye shall haue all your plesere. 
251: To be had [| wherfore ye may nat let. 
557: Walewyng with hys wawes || & tomblyng as a ball. 
640: Malyce || Frowardness || gret lelacy. 
645: Wrong II Rauyne || sturdy Vyolence. 
654: Heresy || Errour || with Idolatry. 

Type E. A trochee may take the place of an iambic in the first 
measure. These measures are best read, however, with "hovering 
accent," as Ten Brink {Chaucer's Sp., p. 182, sec. 316) and Gum- 



The Metre. xvii 

mere {Handbook of Poetics, pp. i86, 187, 206, 224) read similar lines 
in Chaucer and other English poets. 

5: Musyng | on a maner || how that I myght make. 
374: Cryspe was | her skyn |j her eyen columbyne. 
418: Seying to | her sylf |1 that chere should i>ey repent. 
472: lason ne | Hercules || went they neuer so wyde. 
63 1: Slowthe was | so slepy || he came all behynde. 
648: Boldnes | in Yll || with Foule' Rybaudy. 
747: Pepyll I to reyse || hys quarrell to menteyn. 
760: Gaderyd | to Vertew |1 in all that they mowte. 
1 174: Hauyng | in her hande || the palme of vyctory. 

Type F. There may be a double thesis in any measure. In many 
cases the extra syllable may be slurred over. But the trisyllabic 
measure was without doubt an accepted poetic form (v. Ellis, Early 
Eng. Pron., ch. iv, p. 334 ; ch. vii, p. 648. Ellis cites 69 examples 
in the Prolog. See Skeat, ed. of Prioresses Tale, tic, Introd. p. Ixiii). 

7: But I cowde I nat bryng | about | that mon | acorde. 

66: He breketh | hem asondre |1 or rendeth | hem roote | & rynde. 

98: For hurt | of my name |j thorough | thys gret ] offence. 
126: With a sod | eyn pyry || he lapp | yd hem | in care. 
139: The more gre | uous peyne || and hast | y iug | ement. 
199: But furst I I yow pray \\ let me | the mat | er here. 
361: And ones | in the moneth || with Phe | bus was | she meynt. 
383: That he ther | with glad | yd all | the com | pany. 
410: But there was | no rome | to set ] hyr in | that hous. 
472: lason I ne Hercules || went | they neu | er so wyde. 
487: To the dynt | of my dart || for doole | nor des | tyny. 

Type G. Lydgate frequently expands the normal pentameter line 
to six measures. Mr. Steele, the editor of the Secrees, remarks that 
the greater part of that poem might be scanned on a six-beat basis. 
If such lines were of sporadic occurrence they might be slurred 
over, but there are so many lines with the longer rhythm that the 
acceptance of the Alexandrine is rendered imperative. It is possi- 
ble, of course, to read some of these lines with four accents, as if 
they were formed on the model of the alliterative four-beat meas- 
ures as found in the Mystery Plays (v. York Plays, ed. by Smith, 
Introd., p. li), certain ballads (v. King John and the Abbot of 
Canterbury) and the contemporary alliterative poems. The long 
doggerel lines in Shakespeare may be reduced to this form (v. Quell, 
u. For.,vo\. 61, p. 119, 3). But the use of the Alexandrine was 
now established both by itself and in association with other metres 
(v. Schipper, Engl. Met., I, Kap. 5, 8, 13, and cf. its later usage by 



XVlll 



The Metre. 



Wyatt, and see Mirror for Magistrates, ed. by Haslewood, p. 123, 
for mixture of pentameter and x\lexandrine), and Lydgate would 
naturally adopt the form at a time when every irregularity in verse 
was permissible. He himself was most attracted to the French 
forms, though the English alliterative principle still had some force 
in his verse. I think there can be no question about Lydgate's 
Alexandrines. 

Mr. Ellis [Early Eng. Pron., ch. vii, p. 649) thought that 
Chaucer made use of this variation and noticed four instances in 
the prolog of the Canterbury Talcs of what seemed to him to be a 
six-measure line (11. 148, 232, 260, 764), all of which have the jus- 
tification of the best MSS. Zupitza and Skeat in their critical 
texts of the Prologue rtdwce these lines to the normal (1. 764 by slur- 
ring). 

4: Syttyng | all sol | ytary ll alone | besyde | a lake. 
54: Accord I yng to | the offence || that he | to me | hath do. 

161 : And ellys | I most | procede || opon | thy iug | ement. 

253: And when | Apol | lo sy || hit wold | noon oth | er be. 

267: Lyke | as she | had take || the man | tell & | the ryng. 

298: The pal | eys ther | of shone || as though | hit had | be day. 

325: Clad I in rus | set frese || and brech | ed lyke | a bere. 

327: A shepe | crook in | hys hand || he spar | yd for | no pryde. 

340: Aboute I hymin | hysgyr | dyllstede || hyngfyssh | esman | y a score. 

347: She lok I ed eu I er about || as though | she had | be mad. 

359: Fat I she was | of face jj but of | complex | yon feynt. 

364: And on | hyr hede | she weryd | a crowne | of syl | uyr pure. 

367: He had [ a gyld | yn tong || as fyll | for hys | degree. 

372: By I hym sate | Dame Venus || with col | our crys | tallyne. 

385: In sygne ] that he | was mastyr !| & lord | of that | banket. 
So I read lines 401, 404, 420, 421, 422, 462, 476, 490, 495, 496, 
497. 500. 504, 525- 542, 560, 634, 656, 817, 864, 937, 949, 952, 962, 
995, 999, 1048, 1050, 1093, 1097, 1106, 1113, 1120, 1167, 1204, 
1210, 1225, 1239, 1240, 1267, 1344, 1589, 1792, 2099, 2100, 2106, 
2107. Lines 61, 102, 128, 130, 131, 338, 343, 578, 672, 856, 1000, 
might be read either as Alexandrines or as pentameters of type F. 
Type H. There are occasional four-measure lines. 

232: So that I your game ] shall nat | dyscrese. 

307: Safe on | her hede || a crowne | ther stood. 

444: All ye 1 gret goddys [ yeue at | tendaunce. 

693: Getters || chyders j| causers | of frayes. 

758: To Ver | tews frendys || thus all | aboute. 

979 : These four | tene knyghtes || made Vyce | that day. 
1659: Wherfore | ar chyl | dren put | to scoole. 
1834: Of eu I ery mans | oppyn | yon. 



The Metre. xix 

In this manner may be read lines i6, 17, 22, 27, 28, 47, 50, 94, 
134, 182, 204, 530, 550, 703, 722, 916, 1065, 1243, 1506, 1654, 1655, 
1740, 1839, 2004, 2035, 2046. 

2. Of course many lines can be scanned in more than one way. 
Other prosodists will probably not agree with the scansion of the 
examples given. It is difficult and often impossible to determine 
the pronunciation of many words. I think the final <?'s are often, 
if not generally, mute. The rhythm of many lines would be broken 
by the requirements of the Chaucerian scheme of inflections. It is 
evident that during Lydgate's lifetime the language was undergoing 
transformation. The general irregularity of the metre, the intru- 
sion into Chaucer's carefully constructed seven-line stanza of the 
four and six-beat lines, and the frequent alliteration, suggest the 
influence of the older English metrical forms. But it is further 
obvious that Lydgate used in composition the principles both of 
metre and of stress. 

This mixture in his measures of free and regular stress, seems to 
confirm the opinion' of Professor Gummere (v. Amer. J. of Phil. 
Vol. VII, I, p. 46) that the English iambic is not merely the French 
measure introduced by a toui- de force, but a "harmonizing of two 
great systems, the Germanic and the Romance, the rhythmic and 
the metric, on the basis of two representative measures," the heroic 
pentameter line being the "result of forcing the iambic movement 
upon some late form of our old four-stress verse." The conditions 
are thus stated by Professor Gummere: "On the one hand, four 
stresses, fixed pause, indeterminate amount of light syllables; on 
the other, five stresses, shifting and slighter pause, strict ordering 
and number of light syllables." Proofs of such compromise are 
furnished by Chaucer, the majority of whose pentameter verses are 
formed, to some extent, on the plan of the O. E. line of four stresses; 
by the Mystery and Morality Plays, whose irregular measures very 
plainly display the continuance of the English traditions; by Skel- 
ton, whose peculiar metre seems to be due to the splitting of the 
O. E. long line and the riming of the parts; by Spenser in his 

'Little attention has been given hitherto to this view of Professor Gummere, 
but the trend of opinion now seems to favor it. See Courthope's treatment of Lvd- 
%z.\.€%st\'!>&m\v\%\tce.Vi'i History of English Poetry, \,,'^-^. 326-33. Cf. the state- 
ment of Mr. I. Gollancz in his edition of Cyn. Christ, p. xvii : " The secret of 
Marlowe's discovery (the secret of blank verse) lies in this that he Teutonized the 
'versi sciolti' imported from Italy." 



XX The Metre. 

Shepherd^s Calendar, which combines free and regular stress in 
a remarkable manner; and again by the heroic verses of Shake- 
speare and Spenser and of Dryden and Pope, many of which have 
rhetorically but four stresses. 

On the whole Lydgate followed his French models, or more 
strictly his Chaucer. The many alliterative phrases in his poem 
illustrate, however, the traditions of the older poetry ; such a line 
as 66b 

"orrendeth hem roote & rynde" 

indicating the " rum ram riif'' principle of composition. The varia- 
ble measure and line reveal the confusion into which English verse 
had fallen after Chaucer, it being still uncertain whether free or 
regular stress would prevail. Had Lydgate been favored with 
Chaucer's literary environment and gifted with his genius and ear 
for rhythm it is probable that he might have maintained the master's 
delicate Normanized literary English, but the influence of the vulgar 
Suffolk tongue with its accentual principles of verse and its rapidly 
disappearing inflections was too strong for the monk. Chaucer's 
regular measures — -regular because artificial — were given over to 
confusion. The oral, in the rude times of the fifteenth cen- 
tury, superseded the literary. From Chaucer to Spenser no one 
was able to give permanency to the forms of English verse. 

That the metre is at best extremely irregular is shown by count- 
ing the syllables. In the first one thousand lines, slurring wherever 
possible and omitting, except where forbidden by the rhythm, the 
final (?'s, the following result is given : 



2 


14-Sy 


liable lines. 


See 66, 340. 


5 


13 




See 404, 525. 


47 


12 






2IO 


II 






546 


10 






179 


9 






II 


8 




See p. xvii, Tyi 



Types B and F make up the 11 -syllable lines and D and C the 
9-syllable lines. G has frequently but 11 syllables (v. line 359). 



The Rime, xxi 

CHAPTER IV. 

The Rime. 

I. End-rime: — The rime is generally pure throughout. Correct 
masculine rimes are the rule. The most numerous rime-endings are 
-ace, -ake, -all, -aunce,- ay, -e, -ence, -ent, -ere, -esse, -y, -yde, -yght, 
-o, -on, -ore, -ought, -ow, -ure {v. Rime Index). 

(a) Identical rimes occur in a number of cases. By identical 
rimes I mean here those in which the riming syllables coincide in 
sound throughout. These syllables may be etymologically different. 
Acorde 6: monacorde 7; malapert 503: pert 504; dyscharge 603: 
charge 605; ouerse 772: see 775; take 1388, 1409: vndyrtake 1390, 
1411; become 1406: welcome 1407; serue 1408: deserue i4ro; goon 
1836: ouergoon 1838; before 1871: therfore 1874; hande 1912: 
hande 1914; dyffuse 1955: refuse 1957; dyscorde 2015: monacorde 
2016; alone 923 : euerychone 924 (14 cases). Identical suffix-ritnes : (a) 
with initial consonant : — iugement i3g:auysment 140; resystence 228: 
sentence 229; satysfaccion 834: dysposicion 836; sadnes 1380: glad- 
nes 1382; royally 268: sykerly 270; herytykes 678: scismatykes 679; 
pycture 15 14: creature 15 16; (b) with initial vowel : — varyaunce 
244: ordynaunce 245; conuenyent 249: expedyent 250; precious 
790: vyctoryous 791; swerers 702: morderers 704 etc. (about i4ocases 
of such rimes (b) and (a). 

(b) Imperfect rimes ^x& occasional: — am 86: man 88; strong 260: 
hand 262; came 785: man 787; came 862: than 864; dooni2i7: com 
1 2 18; come 1336: oblyuyone 1337; came 1702; woman 1 704 (7 cases of 
assonance); beste 1056: lyste 1057 (v. lyst 1297: myst 1299); neere 
1616: desyre 1617 (v. desyre 1870: wyre 1872, — cf. Schick Intro. 
Ixi); bedde 2038: vnderstande 2040; crysmatory 1444: sanctuary 
I ^^6; probably imperfect: — syt 191: yet 193 (perhaps = yit as in 
Chaucer); fete 566: yete 567 (cf. yet 193: syt 191); ende 1777: 
mynde 1778 (mynde 1923: ende 1922: spende 1920; ende 1931: 
mende 1932; but cf. mynde 1784: behynde 1785). 

(c) Feminine rimes occwx in the following instances :—- obstacle 
9: habytacle 11: tryacle 12; chases 58: places 60: manaces 61; 
philosophres 272: cofres 273; centre 769: entre 770; seuyn 821: 
heuyn 823: steuyn 824; euer 1203, 1974: neuer 1204, 1973; ? reson 
1259: seson 1260; crysmatory 1444: sanctuary 1446: tary 1447; 
story 1 5 13: memory 1515; fable 1686: acceptable i687;ymages 1731: 
stages 1733: passages 1734; nother 1807: brother 1809; parable 1987: 



xxii Rime Index. 

fable 1988; ? compleynyd 48: constreynyd 49 (cf. herde 498: con- 
queryd 5oo = masc.); grauntyd 118, 874: hauntyd 119, 875; prom- 
ysyd 482: dyspysyd 483; preuydyd 946: guydyd 948; aqueyntyd 1345: 
peyntyd 1347; deuydyd 1765: prouydyd 1767; ? declaryd 736:sparyd 
738; Pretornyd 1119; mornyd 1120; ?excusyd 1399: dysvsyd 
1400; probably : — requyreth 135: expyreth 137: desyreth 138 (but 
cf. gooth 426: wrooth42 7 =masc.); sygnyfyeth 2010: applyeth 2012; 
chaungeth 2094: estraungeth 2096. 

Doubtful cases are : — colowres32i: shoures 322 (but cf. embas- 
satours 1016: shoures 1018); oonys 499: boonys5oi: noonys 502; 
goddys49i: pesecoddys 493; dreines 1854: stremes 1855 (but cf. 
astronomers 1696: speres 1698: yeres 1699; laborers 911: freres 
913); the fi)ial e's are perhaps pronounced in these words : — releue 
(inf.) 13: sleue (obi. sng.) 14; kepe (inf.) 107: depe (adj. pi.) 109: 
crepe (inf.) no; more 149: store (obi. sng.) 151: sore (adv.) 152; 
Saturne 279: morne (inf.) 280; hede (obi. sng.) 2S6: leede (obi. sng.) 
287; corne (obi. sng.) 293: home (obi. sng.) 294; leue (obi. sng.) 
520: foryeue (inf.) 522: myscheue (inf.) 523; carre (obi. sng.) 554: 
marre (inf.) 556; wyde (obi. sng.) 664: abyde (inf.) 665; herte (obi. 
sng.) 1451: aduerte (inf.) 1453: sterte (inf.) 1454; foole (obi. sng.) 
1658: scoole (obi. sng.) 1659; pylgremage (obi. sng.) 1779: passage 
(obi. sng.) 1781; holde 1821: olde 1823; sonne (obi. sng.) 1896: 
tonne (obi. sng.) 1897. 

(d) Medial gh (O. E. h\ already weak in Chaucer, has ceased to 
be pronounced in the cases following, and probably therefore in all 
cases: — about 261: fought 263: mought 264 (cf.aboute 386: route 388; 
mowte 760: dowte 761; abowte ii24:showte 1122: withowte 1125); 
ryght 489: saf condyght 490; ipocrytes 701: ryghtes 703; sodomytes 
708: syghtes 710; cyrcute 757: myght 759; trypartyte 1031: lyght 
1033: wyght 1034; syght 1037: wyght 1039; fyght 1112: meryt 1113; 
bryght 1367: whyte 1369: myght 1370 (cf. infynyte 1605: myte 1607: 
whyte 1608; myte 1814: appetyte 1816); myght 1801: dyspyte 1803: 
lyte 1804. 

RIME INDEX. 

A 

-able 1686, 1687; 1987, 1988. 

-ace 219, 221, 222; 300, 301; 316, 318; 475, 476; 538, 539; 1212, 1214; 1497; 1498; 

1758, -as 1760; 1826, 1827; 1880, -as 1878, 1881, 2099, 2100. See -as. 
-acle II, 12. 
-ad 345, 347, 348; 580, 581. 



Rime Index. xxiii 

-ade 69, 70; 1560, 1 56 1. 

-adde 1415, 1417; 1875, 1876; 1982, 1984. 

-aff 2071, 2072. 

-aft 1 133, 1 134. 

-age 1779, 1781; 1889, 1890; 1899, 1901, 1902; 1906, 1908, 1909. 

-ages 1731, 1733, 1734- 

-ak 366, 36S, 369. 

-ake 2, 4, 5; 233, 235, 236; 608, 609; 722, 724; 1014, 1015; 1052, 1054, 1055; 

1220, 1222, 1223; 1388, 1390, 1391; 1409, 1411, 1412; 1420, 1421; 1457, 

1459; 1812, 1S13; 1905, 1907; 1947, 1949; 2043, 2044. 
-ale 358, 360. 
-ales 68s, 686. 
-all 114, 116, 117; 153, 154; 230, 231; 246, 248; 435, 437; 555, 557, 558; 776, 

777; 1007, 1008; 1072, 1074; 1226, 1228; 1443, 1445; 1504, 1505; 1588,1589; 

1597. 1599; 1612, 1614, 1615; 1707, 1708; 1819, 1820; 1898, 1900. 
-am 86, -an 88, 89. See -an. 
-ame 132,133; 589,591; 713,714; 785, -an 787; 862, -an 864; 1238,1239; 1702, 

-an 1704. 
-an 925,927; 1395, 1397, 1398; 1518, 1519. See -am, -ame 
-ane 2011, 2013, 2014. 

-and 262, -ong 260 ; 370, 371; I177, I179. See -ang. 
-ande 12S, 130, 131; 1084, io85; 1161, 1162; 1562, 1564; 1574. 1575; 1651, 1652; 

1912, 1914; 1959, i960, 
-ape 524, 525; 1315, 1316. 
-ard 601, 602. 

-are 125, 126; 723, 725, 726; 807, 809, 810. 
-arge 85, 87; 545, 546; 603, 605; 1632, 1634. 
-arke 937, 938. 
-arpe 400, 402. 
-arre 554, 556. 
-art 876, 878; 1940, 1942. 
-ary 1446, 1447, -ory 1444. 
-aryd 736, 738. 
-as 274, 276; 611, 613, 614; 1065, 1067; 1339, -ase 1341, 1342; 1878, -ace 1880, 

1 88 1. See -ase, -ace. 
-ase 314,315; 461,462; 513,515,516; 632,634,635. See -as. 
-ases 58, 60, 61. 
-ast 72, 74, 75; 127, 129. 
-aste 1045, 1047, 1048. 

-ate 27, 28; 422, 424, 425; 1483, 1484; 1546, 1547; 1639, 1641. 
-ates 706, 707. 
-aught 1 23 1, 1232. 

-aunce 244, 245; 335, 336; 398, 399; 407, 409; 442, 444; 659, 661; 797, 798; 835, 

837> 838; 954, 956, 957; 989, 991, 992; 1094, 1096, 1097; 1147, 1148; 1374, 

1376, 1377; 1430, 1432, 1433; 1450, 1452; 1507, 1509, 1510; 1598, 1600, 

1601; 1660, 1662; 1714, 1715; 1835, 1837; 2003, 2005; 2060, 2062, 2063. 

-aunge 1402, 1404, 1405. 

-aungeth 2094, 2096. 



xxiv Rime Index. 

-aunse 15, 17; 996, 998, 999. 

-aunt 883, 885; 1254, 1256; 1294, 1295, 

-auntyd 118, 119; 874, 875. 

-ause 134, 136. 

-aute 587, 588. 

-ay 29, 31; 282, 284, 285; 296, 298, 299; 548, 550, 551; 666, 668; 715, 717; 727, 

728; 729, 731; 743, 745; 813, 815; 958, 959; 965, 966; 979, 980; 1028, 1029; 

1086, 1088; 1245, 1246; 1276, 1278, 1279; 1324, 1326; 1464, 1466; 1590, 

1592; 1661, 1663, 1664; 1828, 1830; 1968, 1970. 
-ayd 36, 38. 

-ayde 164, -eyde 162; 207, -eyde 205. 
-ayed 1998, -eyde 1996. 
-ayes 692, 693. 

-ayll 615, 616; 751, 753, 754; 1219, 1221; 1969, 1971, 1972. 
-ayn 1567, 1568. 

-ayne 1668, 1670, -eyne 1671. See -eyne. 
-awe 559, 560; 1227, 1229, 1230. 

E 

-e (gen. = -y) 121, 123, 124; 198, 200, 201; 253,255; 271, -y 270; 457, 459, 
460; 492, 494,495; 519, 521; 552, 553; 617, 619; 650, 651; 772, 774, 775; 
804, 805; 811, -ee 812; 828, 830, 831; 842, 844, 845; 919, 921, 922; 933, 
935, 936; 1002, 1004; loio, 1012, 1013; 1080, 1082, 1083; 1105, -ee 1106; 
1261, 1263; 1280, 1281; 1329, 1330; 1416, 1418, 1419; 1423, 
1425, 1426; 1700, 1701; 1800, 1802; 1868, 1869; 1926, 1928; 1945, 1946; 
1980, 1981; 1994, 1995; 2017, 2019; ? 2038, 2040; 2057, 2058; 2067, 2069, 
2070. 
-ee 365, 367; 505, 507; 995, 997; 1136, 1138, -e 1139; 1961, -e 1963. 
-eare 421, -ere 423. 
-ecte 895, 896; 1847, 1848. 
f-ede 286, -eede 287; 569,571,572; 755,756; 832,833; 1000,1001; 1035,1036; 

1129, 1131, 1132; 1360, 1362, 1363; 1378, 1379. 
-eede 1023, 1025; 1583, 1585; 1815, 1817, 1818. 
-eet 1064, -et 1063. 
-eft 562, 564, 565. 

f-elde 667, 669, 670; 932, 934; 1044, 1046; 1095, 1093-eelde. 
\-eelde 1093, -elde 1095. 

(-ele 55, 56; 1026, 1027, -eele 1024; 2068, -eele 2066. 
(-eele 1024, -ele 1026, 1027; 1637, 1638; 2066, -ele 2068. 
-ell 30, 32, 33; 433, 434; 590, 592, 593; 1331, 1333; 1532, 1533. 
-erne 1609, 16 10. 
-ernes 1854, 1855. 

-ence 44, 46, 47; 76, 77; 79, 81, 82; 97, 98; 174, 175; 228, 229, -ense 226; 456 
458; 639, 641, 642; 645, 647; 814,816,817; 1135, 1137; 1163,1165; 1436, 
1438; 1490, 1491; 161 1, 1613; 1863, 1865; 2001, 2002; 2025, -ens 2027, 
2028; 2106, 2107. See -ens, -ense. 
-ende 737, 739, 740; 1623, 1624; 1665, 1666; 1777, -ynde 1778; 1798,1799; 1920, 
1922, -ynde, 1923; 1931, 1932. See -ynde. 



Rime Index. xxv 

(-ene 982, 984, 985; 1198, 1200; 1584, 1586, 1587. 
(-eene 275, -ene 277, 278; 2045, 2047. 

-ens 2027, 2028, -ence 2025. 

-ense 226, -f>nce 228, 229; 653, 655, 656; 1247, 1249. See -ence. 

-ent 23, 25, 26; 113, 115; 139, 140; 160, 161; 170, 172, 173; 247, 249, 250; 289, 
291, 292; 415, 417, 418; 449, 451; 741, 742; 792, 794; 827, 829; 1003, 1005, 
1006; 1092, -ente 1091; 1107,1109; 1140,1141; 1157, 1159, 1160; 1175, 
1176; 1304, 1306, 1307; 1427, 1428; 1465, 1467, 1468; 1553, 1554; 1674, 
1676; 1749, 1750; 1763, 1764; 1829, 1831, 1832; 1903, 1904; 2036, 2037. 

-entes 839, 840; 909, 910; 918, 920. 

-epe 107, 109, no; 1255, 1257, 1258; 1296, 1298. 

-ept 510, 511; 944, 945; 1682, 1684, 1685. 

-er 71, 73; 163, -ere 165, -eere 166; 547, 549. See -eere. 

-erde 498, -eryd 500; 625, 627, 628. See -eryd. 
-ere 50, 52; 93, 95, 96; 155, 157; 183, 185; 197, 199; 323, 325; 394, 396, 397; 423, 
-eare 42 1; 443, 445, 446; 541, 543, 544; 748, 749; 806, 808; 884, 887, -eere 
886; 888, 889; 960, 962; 1128, 1130; 1233, 1235; 1541, 1543; 1556, 1558, 
1559; 1602, 1603; 1626, 1628, 1629; 1742, 1743; 1933, 1935; 2004, 2006, 
2007; 2029, 2030; 2081, 2083, 2084. See -eare. 
.-eere 166, -ere 165; 597, 599, -ere, 600; i6i6,-yre 1617; 1653, -ere 1655. See -yre. 

-eeres 905, -ers 907, -eres 908. 

-ers 674, 676, 677; 680, 682; 681, 683, 684; 688, 690, 691; 695, 697, 698; 702, 
704, 705; 907, -eeres 905, -eres 908; 911, -eres 913; 1696, -eres 1698, 1699. 

-erse 405, 406. 

-ert 46S, 469; 503, 504; 1 170, 1 172; 1266, 1267; 1591, 1593, 1594; 1786, 1788; 
1843, 1845, 1846. 

-erte 1451, 1453, 1454. 

-erue 1408, 14 10. 

-eryd 500, -erde 498. 

-es 391, 392; 881, 882; 902, 903; 1066. 1068, 1069; 1215,-esse 1213; 1380, 
1382; 1640, 1642, 1643. 

-ese 232, 234; 237, 23S; 1752, 1754, 1755. 

-esse 8, 10; 184, 186, 187; 240, 242, 243; 254, 256, 257; 303, 305, 306; 534, 536, 537; 
1059, 1061, 1062; 1213,-es 1215, 1216; 1262, 1264, 1265; 1385, 1386; 1492, 
1494; 1511, 1512; 1633, 1635, 1636; 1716, 1718; 1941, 1943, 1944. 

-eson (or on) 1259, 1260. 

-esshe 2080, 2082. 

-est 223, 224; 342, 343; 573, 574; 820, 822; 2032, 2034, -este 2035. 

-este 478, 480, 481; 1056, -yste 1057; 2035, -est 2032, 2034. See -A'ste. 

-et 167, 168; 188, 189; 251, 252; 309, 311; 317, 319, 320; 337, 339; 384, 385; 
1063, -eet 1064; 1154, 1155; 1184, 1186; 1654, -ete 1656, 1657; 1675, 1677, 
1678; 1891, 1893. See -eet, -ete. 

-ete 212, 214, 215; 239, 241; 344. 346; 419, 420; 527, 529, 530; 566, 567; 1030, 
1032; 1287, 1288; 1332, 1334, 1335; 1656, 1657, -et 1654. See-et. 

-ette 604, 606, 607; 1462, 1463. 

-ettj-s 1695, -etys 1697. See -etys. 

-etvs 1697, -ettys 1695. See -ettys. 

-eue 13, 14; 429, 431, 432; 520, 522, 523; 1679, 1680; 2031, 2033. 



xxvi Rime Index. 

-euer (or er) 1203, 1204; 1973, 1974.. 

-euyn 821, 823, 824. 

-ew 582, 584; 961, 963, 964; 1070, 1071; 1 123, -u 1121; 1364, 1365; 1373, 1375; 

1506, 1508; 2046, 2048, 2049. See -u. 
-ewes 699, 700. 
-ewre 930, -ure 931. 
-ey 156, -ay 158, 159; 378, -y 377 ; 623, -y622; 873, -y 872, 870; Ii88,-y 

1 187, 1 185; 1630, -y 1631; 1728, -y 1729; 1856, 1858. See -y. 
-eyde 162, -ayde 164; 205, -ayde 207, 208; 596, 598; 1996, -aj'ed 1998. See 

— ayde, -ayed. 
-eyn 62, 63; 146, 147; 176, 178; 561, 563; 744, 746, 747; 1359, 1361. 
-eyne 37, 39, 40; iii, 112; 610, -eygne 612; 1156, 1158; 1581, 1582; 1671,-ayne, 

1670; 1808, 1810, 1811; 1966, 1967; 2085, 2086. See-ayne. 
-eyngth 967, 969. 

-eynt 78, 80; 258, 259; 359, 361, 362; 1644, -eynte 1645; 1793, 1795. 
-eynte 1645, -eynt 1644. 
-eyntydi345, 1347. 
-eynyd 48, 49. 
-ext 1502, -exte 1500. 
-exte 1502, -ext 1502. 

Y, I, (E). 

-y 34, 35; I04> 105; 148, 150; 202, 203; 268, 270, -e 271; 281, 283; 302, 304; 

330,332; 377, -ey378; 380,382,383; 401, 403, 404; 450, 452, 453; 463, 465; 

485, 487, 488; 594, I 595; 622, -ey623; 629, 630; 638, 640; 646, 648, 649; 

652, 654; 657, 658; 660, 662, 663; 765, 767, 768; 800, 802, 803; 841, 843; 

846, 847; 848,850; 853,854; 855, 857; 867, 868; 869, 871; 870, 872, -ey 873; 

975,977,978; 1009, loii; 1021, 1022; 1073, 1075, 1076; 1171,1173, 1174; 

I185, 1187, -ey 1188; 1189, 1190; 1289, 1291; 1346, 1348, I 1349; 1458, 

1460, 1461; 1485, i486; 1493, 1495, I 1496; 1513, 1515; 1534, 1536; 1549, 

1551, 1552; 1570, 1572, 1573; 1631, -ey 1630; 1689, 1691, 1692; 1717, 1719, 

-uy 1720; 1729, -ey 1728; 1787, 1789, 1790; 1822, 1825, I 1824; 1840, 1841; 

1989, 1991; 2039, 2041, 2042; 2064, I 2065; 2095, 2097, 2098; 2102, 2104, 

2105. See -e, -ey, -uy. 
-yce 825, -yse 826; 863, -yse 865, 866. See -yse, 
-yde 216, 217; 288, 290; 324, 326, 327; 331, 333, 334; 349, 350; 470, 472; 624, 

626; 664, 665; 716, 718, 719; 793, 795, 796; 891, 893, 894; 926, 928, 929; 

940, 942, 943; 981, 983; 1283, 1285, 1286; 1499, 1501; 1525, 1526; 1555, 

1557- 
-ydyd 946, -uydyd 948; 1765, 1767. See -uydyd. 
-yeth 2010, 2012. 
-yght 373, 375, 376; 489, 490; 750, 752; 759, -ute 757; 778, 780; 972, 973; 986, 

987:993,994; 1033, 1034,-yte 1031; 1037, I039;III2, -yt II13; 1199,1201, 

1202; 1367, 1370, -yte 1369; 1381, 1383, 1384; 1392, 1393; 1471, 1473; 

1476, 1477; 1801, -yte 1803, 1804; 2078, 2079. See -yt, -yte, -ute. 
-yghtes, 710, -ytes 708. See-ytes. 
-ygne 1224, -yne 1225; 1441, 1442. See -yne. 
-yk 856, 858, 859. 



Rime Index. xxvii 

-ykes 678, 679. 

-yll 120, 122; 575, 577; 916, 917; 1058, 1060; 1079, 1081; 1990, 1992, 1993. 

-yme 953, 955. 

-yn 1049, 1050; 1857, 1859, i860. 

-yiide 64,66; 393, 395; 512, 514; 631, 633; 1343, 1344; 1387, 1389; 1542, 1544, 

1545; 1647, 1649, 1650; 1756, 1757; 1778, -ende 1777; 17S4, 1785; 1923, 

-ende 1922. See -ende. 
-yne 265, 266; 372, 374; 1225, -vgne 1224; 2018, 2020, 2021. 
-yng 267, 269; 1366, 1368; 1528, 1530, 1531; 1535, 1537, 1538; 1618, 1620. 
-ynges 687, 689. 
-ynke 2052, 2054. 

-ynne 947, 949, 950; 1997, 1999, 2000. 
-yre 1617, -eere 1616; 1870, 1872. See -eere. 
-yreth 135, 137, 138. 

-ys 106, 108; 877, 879, S80; 1310, 1312. 
-yse 16, 18, 19; 225, 227; 447, 448; 568, 570; 826, -yce 825; 865, -yce 863; 11 15, 

II17, 1118; 1352, 1354; 1780, 1782, 1783; 1962, 1964, 1965. See -yce. 
-yst 1297, 1299, 1300. 
-yste 1057, -este 1056. 
-ysyd 482, 483. 

-yt 191, -et 193, -yte 194; 1113, -yght, III2. See -et, -yte, -yght. 
-yte 211,213; 1 03 1, -yght 1033, 1034; 1369, -yght 1370; 1605, 1607, 1608; 1803, 

-yght 1801; 1814, 1816. See -yght. 
-ytes 701, 703; 708, -yghtes 710. 
-yue 517, 518; 939, 94i; i«49, 1851- 
-yues 20, 21. 

O 

-o 22, 24; 41, 42; 51, 53, 54; 142, 144, 145; 169, 171; 195, 196; 218, 220; 295, 

297; 471, 473, 474; 496, 497; 1210, 121 1; 1248, 1250, 1251; 1322, 1323; 

1353, 1355, 1356; 1527, 1529; 1539, 1540; 1563,-00 1565, 1566. 
-00 41, -o 42; 92, 94; 1565, -o 1563. 

-ood 307, 308; I126, 1127; 1311, 1313, 1314; 1422, 1424; 1569, 1571. 
-oode 540, 542; 799, 801; 1038, 1040, 1041. 
-oddys 491, 493. 
-oft 99, lOI. 

-00k 1142, 1144; 1455, 1456; 1724. 1726, 1727. 
j -oke 181, 182. 

\ -ooke 1303, 1305; 1885, 1887, 1888. 
-olde 387, 389, 390; 428, 430; 1766, 176S, 1769; 1821, 1823; 1934, 1936, 1937; 

1983, 1985, 1986; 2059, 2061; 2073, 2075. 
-oole 1394, 1396; 1658, 1659; 1952, 1953. 
-ome 190, 192; 1336, -one 1337; 1406, 1407. See -one. 
-on 43, 45; 90, 91; 636, 637; 643, 644; 834, 836; 849, 851, 852; 974,976; 988, 

990; 1103,-owne iioi; 1108, mo, iiii; 1143, 1145, 1146; 1178, ii8o,-own 

1181; 1205, 1207; 1301, 1302; 1413, 1414; 1429, 1431; 1619, 1621, 1622; 

1646, 1648; 1681, 1683; 1721, 1722; 1737, 1739; 1744, 1746; 1751, 1753; 

1772, 1774; 1833, 1834; 1842, 1844; 1864, 1866, 1867; 1910, 1911; 1913, 



xviii Rime Index. 

1915, 1916; 1919, 1921; 1975, 1977; 2008, 2009; 2022, 2023; 2053, 2055, 

2056; 2101, 2003. See -eson, -own. 
-oon 440, 441; 1217 -om 1218; 1667, -on 1669; 1759, 1761, 1762; 1805, 1806; 1836, 

1838, -on 1839. See -om, -on. 
-onde 1712,-ounde 1710; 1735, -ounde 1736. See -ounde. 
-one 720, 721; 779, 781, 782; 923, 924; 1337, -ome 1336; 1745, 1747, 1748; 1839, 

-oon 1838. See -ome. 
-ong 730, 732, 733; 1269, 1271, 1272. 
-onne i, 3; 1896, 1897. 
-oonys 499, 501, 502. 
-ophres 272, 273. 

-orde 6, 7; 1252, 1253; 1434, 1435; 2015, 2016. 
-oorde 1240, 1242. 

r-ore 149, 151, 152; 338, 340, 341; 771, 773; 968, 970, 971; 1308, 1309; 1472, 1474, 
J 1475; 1604, 1606; 1794, 1797, -oore 1796; 1871, 1873, 1874; 1892, 1894, 1895. 
I -oore 1791, -ore 1792; 2074, 2076, 2077. 
-ores 673, 675. 
-orn 818, 8iq. 

-orne 280, -urne 279; 293, 294. See -urne. 
-ornyd 11 19, 11 20. 

-ort 65, 67, 68; 204, 206; 531, 532: 671, 672. 
-orte 1150, 1152, I153; i486, 1488, 1489. 
-ory 1444, -ary 1446, 1447. See -ary. 
-ose 1576, 1578. 
-osse 1595, 1596. 

-cost 764, 766; 783, 784; 951, 952; 1 192, -ost 1 194, 1195. 
-oote 620, 621, -ote 618; 1350, 1351. 
-othe 2092, 2093. 
-ooth 426, 427; 1338, 1340. 
-other 1807, 1809. 
-ought 141, 143; 209, 210; 263, 264, -out 261; 412, 413; 526, 528; 786, 788, 

789; 1051, 1053; 1 196, 1 197; 1234, 1236, 1237; 1478, 1480; 1625, 1627; 

1672, 1673; 1882, 1883; 2050, 2051. 
-oun 2087, 2089. 

-ound 506, -ownd 508, 509; 533, 535; 1042, 1043; 1521, 1523, 1524. 
-ounde 1690, -ownde 1688; 1709, 1711; 17 10, -onde 1712, 1713; 1736, -onde 1735 

See -onde, -ownde. 
-our 464, 466, 467; 576, 578, 579; 734, 735; 1078, -owre 1077; iioo, II02; 1206 

1208, 1209; 1290, 1292, 1293; 1850, -oure 1852, 1853. See -owre. 
-ours 709, 711, 712; 897, 899; 904, 906; 912, -oures 914, 915; 1016, -oures 1018; 

1182, 1183; 1357, 1358; 1577, 1578, 1580. 
-oures 322, -owres 321; 694, 696; 914, -ours 912; 1018, -ours 1016. See -ours, 

-owres. 
-ous 408, 410, 411; 790, 791; 898, 900, 901. 
-out 261, -ought 263, 264; 436, 438, 439; 1437, -owte 1439, 1440; 1479, 1481, 

1482; 1930, -oute 1929. See -ought, -owte. 
-cute 310, 312, 313; 386, 388; 758, -owte 760, 761; 1017, 1019, 1020; 1273, 1274; 

1927, 1929, 1930. See -owte. 



Alliteration. xxix 

-ow 762, 763; 1149, 1151; 1164, 1166, 1167; 1191, 1193; 1241, -owe 1243, 
1244; 1317, 1319; 1371, 1372; 1401, 1403; 1954, 1956; 2024, 2026. 

-owe 484, 486; 1243, -ow 1 24 1. See -ow. 

-own 1 181, -on 1 180. 

-ownd 508, -ound 506. See -ound. 

-ownde 1688, -oiinde 1689. See -ounde. 

-owne 379, 381; iioi, -on 1103, 1104. See -on. 

-owre 1077, -our 1078. See -our. 

-owres 321, -oures 322. See -oures. 

-owte 760, -oute 758; 1087, 1089, 1090; 1122, 1124, 1 125; 1318, 1320, 1321; 
1439, -out 1437; 1861, 1862; 1924, 1925; 1948, 1950, 1951; 1976, 1978, 
1979. 

U 

-u I121, -ew 1123. See -ew. 

-ude 890, 892; 1703, 1705, 1706. 

-ure 57, 59; S3, 84; 100, 102, 103; 363, 364; 414, 416; 454, 455; 477, 479; 860, 
861; 931,-ewre 930; 1268, 1270; 1325, 1327, 1328; 1448, 1449; 1514, 1516, 
1517; 1520, 1522; 1693, 1694; 1723, 1725; 1770, 1771; 1773, 1775, 1776; 
1877, 1879; 1884, 1S86; 2088, 2090, 2091. See -ewre. 

-urre 328, 329. 

-urne 279, -orne 280. 

-us 177, 179, 180; 1 168, 1 169; 1469, 1470; 1938, 1939. 

-use 1917, 1918; 1955, 1957, 1958. 

-ust 1098, 1099; 1275, 1277. 

-usyd 1390, 1400. 

-ute 757 -yght 759. See -yght. 

-uy 1720, -y 1719. 

— uydyd 948, -ydyd 946. 

2. Alliteration is a marked feature of the verse. As is well known, 
the usage of combining alliteration and end-rime, which became 
conspicuous in western and northern England about the middle of 
the fourteenth century, grew in favor through the fourteenth and 
fifteenth centuries, reaching its highest popularity in Scotland 
during the second half of the fifteenth century (v. Scottish Allit. 
Poems, ed. by Amours in Scot. Text Soc). The alliterative phrases 
record, clearly enough, the influence of the Old-English method of 
verse. In this poem alliteration occurs chiefly in formal phrases, as 
an ornament of the verse, rarely having any constructive significance. 
Lydgate followed no fixed method, though of course accent most 
often determines the phrase. For Chaucer's usage consult Ten 
Brink, Ch. S/>. p. 196, et. seq., and The Alliteration of Chaucer, a 
thesis by Dr. C. F. McClumpha (Univ. of Minn.). I cite a few 
of the most notable instances : 



XXX The Rime and the Final e. 

4: jyttyng all rolytary a/one bei-yde a /ake. 5: wusyng on a waner how that 
I wyght wake. 13: so /eyde I me i/owne my ^yssese to re/eue. 35: ys in a lytyll 
corner ^allyd Fantasy. 66: roote and rynde. 127: 3oystous (^last. 261: /lame of 
/yre. 270: full .rad and wyse he jemyd jykerly. 303: worldly tt/ysdom. 320: hyr 
^owne was of ^awdy grene chamelet. 345: in ruras dad. 354: dad in dustres. 
372: (Tolour crystallyne. 379: fopyr rrowne. 382: 3eames ^ryght. 425: (/euyll's 
«/ate. 487: (/oolenori/estyny. 501: (Joody^^lood and ^oonys. 557: walewyng with 
hys wawes. 556: wake and warre. 631: jlowthe so depy. 673: i^osters, (^raggars 
and <5rybores. 675: ^hamefuU Aakerles, roleyn ^haueldores. 684: walycious wur- 
murers. 688: robbers, reuers, rauenouse ryfelers. 690: warrers of waters and 
money ;«akers. 806: roody as a roose. 848: refuse of rychesse. 899: /erpetuell 
;)restes. 902: /ysshers of /owles. 907: on /eynfull /oore /j'teous com/assioners. 
912: ^ooly -^eremytes. 913: wonasteriall wonkes. 996: c/^aunger of the c/iaunse. 
I166: /eyne /erpetuell. 1362: wylde wantones wede. 1603: coloryd crystall dare. 
1743: /eynyd/ables. 1886: <faryng as a oTastard. 2071-2: Try out the <rorne dene 
from the chaff And then may ye say ye have a jure Jtaff. 



CHAPTER V. 
The Rime and the Final e. 

See Paul's Griind. II. p. 1034, sec. 24. — The language and metre 
of the poem seem to be in such confusion that evidence either for 
or against the pronunciation of the final e is rarely conclusive. So 
far as I am able to judge from a study of the metre and of the rim- 
ing words the final e is quite generally mute. Double forms were 
evidently permissible, especially in words of Old-English origin. 
Still the riming words show a very considerable loss of the final <?, 
and a consequent change in poetic phraseology, as compared with the 
Chorl and Bird and the Temple of Glas, which conform much more 
closely to the phraseology of Chaucer. On this latter evidence I 
should argue for the later date of the Assembly of Gods. For while 
a skillful copyist, by the addition of monosyllabic words, might 
make the measure run without the ^'s, he would not change the rim- 
ing words themselves. 

I. A studv of the common riming words from Chaucer to 
Spenser will illustrate the changes in operation during the fifteenth 
century which affected the final e sound. It will be observed that 
the adverbial suffix -ly (O. E. lie), which in Chaucer' and contempor- 
ary works rimed only with itself, -y or the pronoun I, rimes in Lyd- 

' The Romaunt has cases of -y and -ye rime ; but the date of the MS. is late, 
c. 1450 (Skeat). 



The Rime a//d the Fifial e. xxxi 

gzXt''-, Assembly of Gods, King James' Quair and in other poems suc- 
ceeding these, with endings of Romance nouns such as company 
(O. F. companie, M. L. compania), melody (O. F. melodic, L. L. 
melodia, Gk. /aeAwSta), etc., and of infinitives as testify, multiply, spy, 
etc. The usage of riming the ending -y and -ye became customary 
before the middle of the fifteenth century. Chaucer rimes regu- 
larly -ye with -ye. Thus companye rimes with maystrie, ielousye, 
hye, espye, envye, hostelrie, dayesye, etc.; ielousye with maystrie, 
folye, espye, maladye, etc. So -ly rimes regularly with itself, -y 
or I. Thus I rimes with properly, utterly, verraily, trewely, wik- 
kedly, boldely, certeynly, by; utterly rimes with trewely, esely, 
sikerly ; why rimes with casually. Chaucer has no exception to these 
rules. 

Gower in his Confessio Amantis (1386-1393), Hoccleve in his 
Minor Poems (c. 1425) have Chaucer's usage very strictly. I find 
no instance in Lydgate's Temple of Glas (c. 1403) of the -y -ye rime. 
In the Assembly of Gods, however, the rule is no longer maintained. 
Thus company rimes with pleasauntly 380, feruently 382, melody 401, 
ly 404, chyualry 463, by 663, Apostasv 977, vyctorv 1190, Sodechy 
1549, Sophony 1551. Ey rimes with enuy 622, Pawmestry 870, 
deny 872, fiy 1185, sodenly 1187, foly 1631, generally 1729. Hy 
rimes with testyfy 104, therebv 1461, certeynly 1495, I 1496, glory- 
osly 1572, by 1570, naturallv 1691, glory 1841, magnyfy 2102, 
Mary 2105. Multyply rimes with indyfferency 846, deyfy 1719. 
Comonly rimes with Fantasy 35. Curtesy rimes with innocency 841. 
Memory rimes with glory 848, story 15 13. Victory rimes with 
party 1009, glory 1789, occupy 1787. Spy rimes with pryuyly io2i> 
cry with sodeynly 1075 and myghtyly 1073; stody with espy 1989; 
occupy with testyfy 452 and deny 453. 

In Lydgate and Burgh's Secrees (c. 1446) the latter usage obtains. 
The final e is there rarely sounded (Steele, Irdro. to Sec. p. xx. § xvil.). 
Applye rimes with partye 15 16, fantasye 303. Victorye rimes with 
pryncipally 2 181, prudently 2182, hastely 2445, remedy 2448. 
Remedy rimes with hevyly 1735, specially 2008. Hastily rimes with 
denye 1846. Partve rimes with streyghtlye 2 131. Mallady rimes 
with specially 1700; foly with discretly 2281, angry 2652 ; leccherye 
with fynally 2503 and velony 2504. 

The change had already been accomplished in the Quair (1423) 
of King James I., who rimed armory with contynually, ielousye with 
melancholve and quhy (N. E. why), philosophye with properly, partye 



xxxii The Rime and the Final e. 

with I, quhy with companye, ielousye, folye, onely, I with humility, 
gye, supplye, etc. 

In the Pastime of Pleasure (c. 1506), the work of Stephen Hawes, 
the pupil of Lydgate, and in Spenser's poems and in other sixteenth 
century works, the new usage is completely established. The period 
of transition would seem to be from about 1415 to 1450. Lydgate's 
own works exhibit the change, and very likely his poems can be 
approximately dated by reference to his treatment of this -y rime. 

2. The infinitives among the ritning words present the phenomena 
given in the following word list. The inflectional ending has dis- 
appeared in most cases. It is maintained somewhat in verbs of English 
origin but is almost completely lost in verbs of Romance origin. I 
use e to indicate the conjectural pronunciation of the infinitive end- 
ing. In the table the first word in each series is the infinitive, 
which is followed by the words with which it rimes : 

(a) Of Teutonic Origin. 

abyde: wyde 664: tyde 718: ryde (inf.) 719: pryde (obi. sng.) 928: syde (obi. sng.) 

929: gyde (inf.) 793: hyde (inf.) 894. 
aryse: iustyse (obi. sng.) 18: sylogyse (inf.) 19. 
astert: hert (obi. sng.) 468. 
awake: take (inf.) 1015: shake (inf.) 2044. 
be: perplexyte (obi. sng.) 200: se (inf.) 201: me 255: pyte (obi. sng.) 921: vnyte 

(obi. sng.) 919. 
beware: care (obi. sng.) 126. 
blyn: syn (inf.) 1857: wyn (inf.) 1859. 
borow: sorow 1166: folow (inf.) 1164. 
bow: how 2026. 
call: fall 1008: wall 1898. 
crepe: depe (obi. pi.) 109: kepe (inf.) 107. 
deele: wele (obi. sng.) 2068. 
do: so 144: to 145. 
dwell: tell (inf.) 585: rebell 583. 
fall: shall 231: all 246. 
fare: care (obi. sng.) 809: bare 807. 
feele: yele 1026: dele (obi. sng.) 1027. 
fet: banket (obi. sng.) 167: met 1154: get 1678. 
fly: sodenly 11 87: ey (obi. sng.) 11 88. 
folow: sorow 1 166: borow (inf.) 1 1 67. 
forsake: take (inf.) 1052: make (inf.) 1055- 
foryete: entrete (inf.) 241. 

foryeue: leue (obi. sng.) 520: myscheue (inf.) 523. 
fulfyll: wyll (obi. sng.) 575. 
fyght: myght 993. 
fynde: rynde (obi. sng.) 66: behynde 514. 



The Rime and the Final e. xxxiii 

gete: conterfete (inf.) 212: entrete (inf.) 214: whete 1334. 

go: fro 24. 

here: fere (obi. sng.) 52 (nere 396: Omere 397): daungere (obi. sng.) 96: prysonere 

93: apere 157: plesere 197: offycere (obi. sng.) 446. 
hy: redely 767: ny 768. 

hyde: syde (obi. sng.) 891: abyde (inf.) 893. 

kepe: depe (obi. pi.) 109: crepe (inf.) no: wepe (inf.) 1257: slepe (inf.) 1258. 
lere: geere (obi. sng.) 886: were 884. 
lowte: rowte (obi. sng.) 1087: dowte 1090: abowte 1924. 
ly: company 403: melody (obi. sng.) 401 : Pyromancy 869. 
make: lake (obi. sng.) 4: take (inf.) 2. 
marke: parke (obi. sng.) 938. 
mete: shete (obi. sng.) 420. 
morne: Saturne 279. 
mys: wys 879: thys 877. 
nede: spede (inf.) 571: dede (obi. sng.) 572. 
ouerse: meyne (obi. sng.) 774: see (inf.) 775. 
ryde: wyde 626: tyde 718: abyde (inf.) 716. 
say: day 1830: deley (obi. sng.) 1858. 
se: perplexyte (obi. sng.) 200: be (inf.) 198: meyne 774: ambyguyte I0I2: lyberte 

1013: benygnyte 1426. 
shake: awake (inf.) 2043. 
slepe: wepe (inf.) 1257: kepe (inf.) 1255. 
spede: nede (inf.) 569: dede (obi. sng.) 572. 
steuyn: heuyn (obi. sng.) 823: seuyn 821. 
syn: wyn (inf.) 1859: blyn (inf.) i860, 
syt: yet 193: abyte 194. 

take: lake (obi. sng.) 4: make (inf.) 5: awake (inf.) 1014: forsake (inf.) 1054. 
tell: dwell 32: hell (obi. sng.) 33: fell (obi. pi.) 434: rebell 583. 
wepe: kepe (inf.) 1255: slepe (inf.) 1258. 
Wynne: ynne 949: synne 950: syn (inf.) 1857: blyn (inf.) i860: thynne 1997: 

theryn 1050. 
wythstande: hande (obi. sng.) 1084. 

(b) Of Romance Origin, 

acorde: monacorde (obi. sng.) 7. 

apele: wele (obi. sng.) 56. 

appere: herbere (obi. sng.) 1935: fere (obi. sng.) 2006: here (inf.) 2004. 

asaute: defaute (obi. sng.) 587. 

asay: day 979: may 1278: nay 1276. 

assent: content 172: iugement (obi. sng.) 170, 

auale: pale (obi. sng.) 358. 

auaunce: puruyaunce 956: daunce (obi. sng.) 957. 

auowe: bowe (inf.) 486. 

carpe: harpe (obi. sng.) 400. 

cese: dyscrese (inf.) 232: doutlese 1754: prese (obi. sng.) 1755. 

chastyse: dispyse (inf.) 448. 

compleyn: iweyn (obi. pi.) 146. 



xxxiv The Rime and the Final e. 

conclude: multitude 890. 

confound: drownd 508: fownd 509. 

counterfete: entrete (inf.) 214: gete (inf.) 215. 

cry: sodeynly 1075: myghtyly 1073. 

daunce: penaunce (obi. sng.) 1148. 

deny: testify (inf.) 452: occupy (inf.) 450: Pawmestry 870: ey (obi. sng.) 873. 

depart: cart (obi. sng.) 878. 

depryue: lyue 518. 

dereygne: cheyne (obi. sng.) 610. 

deyfy: multyply 1717: guy (inf.) 1720. 

dyscrese: cese (inf.) 234. 

dyspyse: chastyse (inf.) 447. 

dysuse: muse (inf.) 1917. 

endure: mesure (obi. sng.) 102: nature (obi. sng.) 100: creature (obi. sng.) 2088; 

sure 2091. 
enhaunse: remembraunse 998: chaunse (obi. sng.) 996. 
enlumyne: discyplyne (obi. sng.) 2018: Doctryne 2021. 
entrete: counterfete (inf.) 212: gete (inf.) 215: foryete 239: banket 1654: gete 

(obi. sng.) 1657. 
escape: iape (obi. sng.) 525. 
eschew: Vertew (obi. sng.) 963: sew (inf.) 964. 
espy: stody (obi. sng.) 1991. 
exorte: reporte i486: sorte 1489. 
fade: shade (obi. sng.) 69. 
greue: leue (obi. sng.) 429: meue (inf.) 431. 
gyde: tyde 795: abyde (inf.) 796. 
magnyfy: hy 2104: Mary 2105. 
menteyn: peyn 746: ageyn 744. 

meue: leue (obi. sng.) 429: greue (inf.) 432: sleue (obi. sng.) 2033. 
multyply: guy (inf.) 1720: deyfy (inf.) 1719. 
muse: disvse (inf.) 1918. 

myscheue: leue (obi. sng.) 520: foryeue (inf.) 522. 

occupy: testyfy(inf.)452: deny (inf.) 453: hy (obi. sng.) 1 173: vyctory (obl.sng.) 11 74 
oppresse: heuynesse 10: neuerthelesse 1059: duresse (obi. sng.) 1062. 
peruert: hert 1786: desert (obi. sng.) 1843: smert 1845. 
promyse: wyse (obl.sng.) 225. 
rebell: tell 592: well 593. 
recompense: audyence (obi. sng.) 1249. 
refuse: diffuse 1955: vse (inf.) 1958. 
reherse: werse 405. 
releue: sleue (obi. sng.) 14. 

repent: went 417: inconuenyent (obl.sng.) 415. 
resorte: comforte (obi. sng.) 1 152: porte (obl.sng.) 1153. 
sew: Vertew (obi. sng.) 963: eschew (inf.) 961. 
sylogyse: iustyse (obi. sng.) 18: aryse (inf.) 16. 
tary: sanctuary 1446: crysmatory 1444. 
testyfy: hy 105: occupy (inf.) 450: deny (inf.) 453. 
vse: diffuse 1955: refuse (inf.) 1957. 



The Language. xxxv 

CHAPTER VI. 

The Language. 

A. Vocabulary . 

The modern character of Lydgate's language has often been 
remarked. Warton long ago gave his judgment to the effect 
"that Lydgate made considerable additions to those amplifications 
of our language in which Chaucer, Gower and Occleve led the way; 
and that he is the first of our writers whose style is clothed with 
that perspicuity in which the English phraseology appears at this 
day to an English reader" {Hist, of Eng. Poet., II., 270). The 
influence of French and Latin is more apparent in his vocabulary 
than in that of any other East Midland writer (v. Diet. Natl. Biog., 
XXXIV., p. 310 ; Skeat Priii. Engl. Ety., II., ch. viii). The Assem- 
bly of Gods is especially rich in words of Romance origin, and, as 
compared with contemporary writings, in words of recent adoption 
from the French. The poem is therefore especially helpful in 
tracing the gradual assimilation of foreign words into the language. 
In the Prolog to the Cantc7-bury Tales in 303 words in the first 42 
lines, Chaucer used 263 native English words, leaving 13 per cent. 
of foreign words. In 84 lines of the Assembly of Gods, of 669 
words, the total number employed, 153, or nearly 2t^ per cetit., are 
foreign; of the 305 different words used in the same lines, 107 are 
of foreign origin. As Lydgate was popular long in the reign of 
Elizabeth, his service in naturalizing the foreign vocabulary was 
considerable. It will be seen that the number of obsolete words is 
comparatively small, the proportion of such words being less than 
in Chaucer or Wyclif or Pecock (Lee, Diet. Natl. £iog.). 

B. Grammar. 

Lydgate's grammar has been well treated by Dr. Schick in his 
Introduction to the Temple of Glas (chap. vi. p. Ixiii). This MS., 
being of a late date, can aid but little in the construction of Lyd- 
gate's own speech. In the main, it is probable that Lydgate's 
phonological and inflexional system did not differ much from that 
of Chaucer. There was, however, in the case of Lvdgate a much 
less certain use of inflexional endings. In the present MS. the 
pronunciation of many endings is purely conjectural, the metre, 
owing to its irregularity, being seldom conclusive. The language 



xxxvi The La/iguage. 

is seen to be in a state of greatest confusion about the year 1450, 
I note below a few of the grammatical forms of this text. 

I. Declension. Nouns. In Substantives of English origin, the 
final e of the sng. nom. is maintained in some cases : tyme 137, 1751 ; 
name 132; erthe 535. Inorganic e occurs in frende 1798, 1S07; 
wytte 1887. Genitives have regularly the endings {e)s, es,ys; whales 
1535J foes 1126; feldys 1451 ; the genitive form ladyes is found 
in 1178. 

The dative and accusative 7naintain the e in crabbe i ; erthe 67, 
1627; tyme 69; hede 271 (: sykerly) 286, 356, 384 (perhaps hede 
379); tyde 334; felde 959; ende 1799; sonne 1896; tonne 1897; 
tylthe 1 7 10; and others. Plurals commonly end in {e)s, es,ys; other 
plurals are found, as deere 65, 68 ; thyng 1064 ; eyen 220 ; men 759 ; 
foon 1762; chyldren 1659. 

In Substantives of Romance origin the final e in the sng. nom. is 
found in only a few cases: hooste 11 24; bandeii62; chere 375; 
gowne 320. The genitives end regularly in {e)s, es. With proper names 
hys is sometimes used to indicate the genitive, as Vertew hys men 1072 ; 
Vyce hys quarrell 1055. The dative and accusative are most of ten 
without endings, though a final e occurs in pese 238; chare 792; 
scorge 1 1 70 ; scoole 1396, 1659. Plurals are regularly found in {e)s, 
es, ys. 

II. The Adjectives are generally without case endings. The final 
e appears, however, in all cases, sng. and pi. : as nom. sng. foule, 
dymme, 313; olde 390, 1749;//. olde 294; /// oblique cases sng., 
derke 310; crystallyne 372; rewde 438 ; foule 648; hoole 1172;//., 
sage 389; blake 141 2. 

III. The Pronouns have the common M. E. forms; ye is used as 
singular in 32, 95, as plural in 150; she is found in 378, se in 376; 
hit occurs regularly ; theym is used in 48, 415, hem in 66, 126; her 
(their) is used in 47, 65, 123, 867, and regularly. The indefinite 
som, without ending, occurs in 865, 1196, 1198, 1199. Eor relatives, 
which that and who (rare), are used; by hem that lyues 20 ; he 
that 21 ; poetes whyche 1743 ; [he] who 769. 

IV. Adverbs are found with endings e, es or ys, ly and without 
endings: sone 36, 461, 721, 1345; while 181, 72; ferre 1627; newe 
562 ; nedys 21, 1372 ; nedes 1245 ; elles 33, 1033 ; ellys 1614, 1385 ; 
eftsones 1007. 

V. Conjugation of Verbs. The formation of the tenses of the 
verbs, strong and weak, is the same as in Chaucer. Infinitives end 



Literary A/ialysis. xxxvii 

in e, though perhaps more often they are without endings, as fall 
230, riming with shall ; syt 191 riming with yet ; fly 11 85 riming with 
sodenly ; bow 2024 riming with how ; tell 30 riming with hell, etc. 
T/ie third perso7i, indicative, present, has regularly the ending eth, cth. 
The fiorthern es is found in two places : dryues 21, manaces 61 {in pi. 
lyues 20). The past participle is without a prefix ge-, i- or y- ; the 
strong verbs end commonly in en and e, the weak in yd, cd, t : 
knowen 1141; beholdyn 1S66; taken 501; take 59, 267, 547, 722, 
725; tane 2013; broke 182; spoke 181; ronne i; dreven 1080; 
cropyn 1953; ouerthrow 1149 rimes with know (inf.) and 1191 with 
low. The form beene occurs in 2047 riming with scene, also bene 
420, 1343, ben 627, byn 1798, be 115,298,460; bee 1136. So 
occur the forms goon 757, go 1396 ; done 48, 563, doon 84, do 195, 
1248 (riming with lo), 496,; scene 545, seyne 1671. 



CHAPTER VII. 

THE POEM. 

A. Literary Analysis.' 

A. Introduction {stanzas /-j). The time : when Phoebus had 
nearly finished his course in the Crab. The place: I was sitting 
alone beside a lake. The theme : musing how I might make Rea- 
son and Sensuality to accord. The framework of the action : a 
dream. The director of the dream : Morpheus. 

B. The Action of the Dream : the Theme illustrated {6-2gi). Act 
I. The case of Eolus [6-8 ~). Scene I. At the Court of Minos in Hell 
{6-26). — Characters at the Court: Pluto, Ruler of Hell; Minos, the 
Justice ; Cerberus, the Constable ; Diana and Neptune, plaintiffs ; 
Eolus, the defendant; Morpheus and Lydgate, spectators, {a) Eolus 
led in by Cerberus (6). {b) Silence proclaimed by Pluto (7). [c] The 
complaint of Diana: Eolus had destroyed her forests with his blasts 
wherefore the deer were without shelter (8-1 1). {d) The complaint 
of Neptune: Eolus had disputed with him the jurisdiction of the 
sea and had caused him to turn against his natural course and to 
labor far out of measure, making him to ebb and flow out of his 
season. Moreover, Eolus had destroyed those to whom he had 
granted protection (12-20). (e) The case in judgment (21-23). 

' I have analyzed the poem according to its dramatic divisions as if it were a 
Moral Plav. 



xxxviii Literary Analysis. 

(/) The court dismissed, without action, at the invitation of Apollo 
to a banquet (24-27). Scene II. At the palace of Apollo {py-Sj). [a) 
Apollo sues for Diana's forgiveness of Eolus (27-34). (b) Neptune 
accepts Phebe as arbiter of his case (35). {c) The banquet (36- 
59): Apollo seats his guests at the table, Aurora and Apollo, Diana 
and Mars, Juno and Jupiter, Ceres and Saturn, Othea (Athena) and 
Cupid, Fortune and Pluto, Isis and Pan, Minerva and Neptune, 
Phoebus and Bacchus, Venus and Mercury. The waiters were 
philosophers and poets. Orpheus and Pan made music. Of dain- 
ties and meats there was a plenteous store, {d) Discord enters but 
is denied a place at the table (59-60). (c) Discord departs 
in wrath and meets with Atropos (60). (/) Atropos takes her 
part and enters the palace (61-62). {g) He rudely salutes the Gods 
(63); recites his services to them in destroying Hector, Alexander, 
Cassar, etc. (64-69); charges them with assisting one whom he can 
not destroy (70); refuses to serve them longer (71). (//) The Gods 
in dismay swear to help Atropos and to confound this rebel. But 
Eolus will not help them (72-75). (/) Excursus: how Eolus came 
into the power of Pluto (76-80). (7) Eolus, forgiven by Neptune 
at the request of Phebe, promises to afflict the rebel if he be in the 
air (81-84). {k) The name of this rebel is Virtue (85-86). Pluto 
sends for his son Vice (87). 

Act II. The Battle bettvecn the Vices and Jlrtiies in the field of 
Microcosm {88-210). Scene I. The gathering of the hosts {88-1 Jj). 
{a) Vice and his head-captains, Pride, Envy, Wrath, Covetousness, 
Gluttony, Lecherv, Sloth (88-91); inferior captains. Sacrilege, 
Simony, etc., a great company (91-95); such a host of commons 
man never beheld — they were led by Idleness (95-102). (l>) Virtue 
and his head-captains. Humility, Charity, Patience, Liberality, Absti- 
nence, Chastity, Good-Business (103-118); inferior captains and 
common soldiers numbering a tenth of Vice's host (i 19-133). 
Scene II. The preparation for the combat {1J4-IJ8). The field is 
Microcosm. It is entered by five highways. Conscience is judge 
of the battle. Freewill is Lord of the Field, {a) Vice and Virtue 
dub fourteen knights each (140-142). {I)) They send ambassadors 
to Freewill (143-146). (c) Sensuality sows the field with wicked 
seeds (146-147). Scene III. The battle (148-162). (a) Virtue tar- 
ries under the Sign of the Cross and wards off the shots by the Shield 
of the Holy Trinity (149-150). (b) Virtue, abandoned by Freewill, 
retreats (i 51-154). (c) Other captains hold the ground and Per- 



Literary Analysis. xxxix 

severance brings reinforcements (155-159). {d) Vice is overthrown 
(160-162). Scene IV. The result, {a) Freewill repents (163-164). 
(//) Vice is met by Despair (165). (c) Prescience drives Vice and 
his host through the gates of Hell (166-167). 0^) Predestination 
gives Virtue the palm of Victory and to all a heavenly habitation 
(168-170). {e) Some of Vice's host repent (i 71-174). (/) Free- 
will recompenses Virtue. • Freewill is made bailiff in Microcosm 
under Reason. Sensuality is guided by Sadness. To Morpheus 
are given the five keys of the highways (178-187). (^) Atropos, 
angry at the Gods, seeks another master. He is called Death and 
given possession of Microcosm (188-209). (//) Virtue is exalted 
above the firmament to receive the Crown of Glory (210). 

Act HI. The School and Lessons of Doctrine : The Doubt Solved 
[21 i-2go). The place, a garden with four pictured walls; the por- 
ter. Wit ; the teachers, Doctrine, Holy Text, Gloss and Moralization; 
the scribe, Scripture. Scene I. (a). The Interpretation by Doctrine 
of the dream and of the four " Times'" pictured on the walls {211— 
2j^). First, the imprisonment of Eolus signifies that wealth increases 
misrule. Every man is judged by Minos according to his wicked- 
ness. The complaint of Diana and Neptune signifies the folly of 
fools in seeking to bring the winds to correction. When they came 
to the banquet of Apollo like fools they gave up the matter to 
oblivion. The Gods resemble false idols. In the beginning the 
people slept in pagan law. The poets feigned many fables which 
were given places and names. Idolatry was the rule during the 
Time of Deviation from Adam to Moses. With Moses began the Time 
of Revocation which endured to the Incarnation of Christ. The 
New Testament opens the time of Reconciliation. The Time of 
Pilgrimage or War is signified by the battle between Vice and Vir- 
tue. As for Atropos his complaint signifies the constraint of friend- 
ship. Discord must needs be avenged by Death. The battle 
betokens the moral struggle in the soul. Microcosm is the world 
of man. Perseverance betokens the continuance of virtuous living. 
Prescience and Predestination are therewarders of Vice and Virtue. 
The five keys are man's five wits. The return of man to sin is pre- 
vented bv Reason and Sadness. Scene II. The reconciliation of 
Reason and Sensuality : the theme completed {276-288). a. Death, 
Reason and Sensuality enter. Of Death Lydgateis afraid. Reason 
argues that Death ought to be shunned. In this sentiment Sen- 
sualitv accords, {b). Doctrine vanishes (289-290). 



xl The Religious Character. 

C. The Conclusion {2g2-joi). {a). The dream broken (291-293). 
{b). Lest fault be found with me I record the vision (294-296). {c). 
The exhortation (297-301) : Gentle Reader, walk alway in the path 
of Virtue. Fight daily against the World, the Flesh, and the 
Devil. Thine shall be the glory and the heavenly mansions. Let 
us pray that the Lord of Glory give us grace. Let us magnify his 
name. To you may Jesus grant eternal joy. 

B. Literary Studies. 

I. The Religious Character of the Poem. — The Assembly of Gods is 
one of Lydgate's numerous moral treatises so sounding in virtues 
that Bishop Alcock of Ely (b. 1430), in sermons addressed to the 
generation succeeding the poet, might praise it as leading to "the 
encrease of vertue and the oppression of vyce.'" It is a sermon in 
verse, only the moral truth is"cloked," as Stephen Hawes phrases it, 
"with cloudy fygures." By this time Lydgate at Bury St. Edmunds 
must have become an excellent ecclesiastic. In the poem he freelv 
employs the vocabulary of mediaeval monasticism. The explanation 
by Doctrine, for instance, of the pagan deities, and indeed the 
whole discourse of Doctrine, is in the manner of the early theolo- 
gians and schoolmen. Thus the writings of Fulgentius, the gram- 
marian (c. 480-550), notably his Mythologiarum {Mythologicori) 
Libri, which explains the pagan names and legends, may be cited 
as the far source of that portion of the poem which interprets 
the deities, and the Hamartigenia and Psychomachia of Prudentius, 
the Christian hymn writer, a little earlier than Fulgentius, may be 
consulted for the origin of that part which contains the battle of 
the vices and virtues. Lydgate's immediate masters in opinion and 
sentiment were the compilers of the Gesta Romanorum. 

The definite teachings of the treatise might indeed be gathered 
into a system.* The one God is thought of as a Supreme Judge, 
Alpha and Omega omnipotent, standing above the firmament 
and apportioning infinite rewards and punishments. Life is a pil- 
grimage, a war with the sins. Sin is the parent of all woe. Death 

^ Sermo on Luke viii., printed c. 1496. " Frendes I remembre dayes here 
before in my youthe that there was a vertuous monke of Bury called Lydgate, 
whiche wrote man}' noble histories and made many vertuous balettes to the encrease 
of vertue and oppression of vyce." Brydges' Brit. Bibliog., iii, p. 533- 

'That Lydgate knew his creed well is shown by London Lackpenny, Minor 
Poems, p. 106. 



The Religious Cliaracter. xli 

is the supreme object of dread. Salvation is sacramental and sacer- 
dotal. Remedies against sin are found in the Seven Blessings of 
the Gospel, the Seven Virtues of God, the Ten Commandments, the 
Twelve Articles of the Faith, the Seven Sacraments, Veneration of 
the Cross and the Saints, the Doctrine of Unity and the System of 
Redemption in Christ. The necessity of penance is especially 
enjoined. The chief sacraments are Baptism and the Eucharist, the 
one being regarded as the sacrament of the new birth, the other as 
the sacrament of sanctification which maintains the new life. Of 
course the church is built on the stone of Peter who keeps the keys 
of Heaven. In all the poem there is not the least suggestion of 
the coming Reformation or of the work of Wyclif. A digression 
is made at one point to notice the error of Origen (st. 227.) And 
circumcision is held in derision (st. 173.). The work closes appro- 
priately with a prayer to the Son of the Virgin Mary. 

Of the artistic merits of such a treatise little can be said. The 
poem is simply one of the many moral poems which were so popular 
during the Middle Ages throughout Europe and which were calcu- 
lated to gratify the almost universal taste for poetry of a serious and 
didactic nature. We can now consider these works hardly other 
than monuments of the bad taste that accompanies a low literary 
culture. Such writings belong however to the history of literature 
and without their consideration that history would be incomplete. 

The Assembly of Gods is worthy of special attention for its complex 
allegory, which is one of the best of its kind. I admit at the begin- 
ning that it will furnish no pleasure to those who seek in literature 
for originality and imaginative power. No one today would think of 
echoing the praise of Lydgate's poet-friends, or of placing Lydgate's 
name by the side of Chaucer, though he may be fair companion for 
Gower and Hoccleve. That Burgh should think his master knew the 
muses well {Secrees^'^X.. 226), that Stephen Hawes should maintain that 
Lydgate was the "most dulcet sprynge of famous rhethoryke" 
[Pastime of Pleasure^, that Dunbar should write that Lydgate had 
with his "mellifluate " speech illumined the English language, and 
that before his coming the English Isle was "bare and desolate of 
rethorike or lusty fresch endyte" [The Golden Targe) — that this 
chorus of eulogy should be at all received only illustrates the 
imperfect literary sense of the late Middle Ages in England, that 
period which Taine calls appropriately, for its almost utter lack alike, 
of the " grand style " and any high imagination, the Dark Age. Lau- 



xlii The Religious Character, 

reate Skelton, alone among these early writers, has a bit of discerning 
criticism of Lydgate's work in his Phyllyp Sparrowe (11. 804-12) : 
" It is dyffuse to fynde (difficult to understand) 

The sentence of his mynde, 

Yet wryteth he in his kynd, 

No man that can amend 

Those maters that he hath pende ; 

Yet some men fynde a faute, 

And say he wryteth to haute (loftily)." 

But while we cannot greatly admire a poem of this moralizing 
kind, it must be remembered that the work is no worse than very 
much of the prose and poetry of the Middle -English period, nearly 
all of which is ethical if not distinctly religious in character, and 
which might be assigned with propriety to the alcoves of the theo- 
logical library. Chaucer is almost the onlv writer amid the multi- 
tude of preachers and satirists who obeyed his artistic rather than 
his moral conscience. The moral and artistic blend happily, it is 
true, in Langland who, although a reformer, was gifted with such 
Dantean earnestness and strength as to elevate his noble Fiers the 
Plowman into a true and poetic allegory of the soul. Beautiful too 
is the poem of the Pearl in its perfect union of religious earnestness 
and deep and delicate poetic feeling, the lyric gem of all this period. 
Still on the whole it must be said that while England was ready 
ripe for an artistic literature in the period of the Renaissance, 
during the Middle Ages the secret of art was wanting. For liter- 
ature with the artistic stamp we must go to the continent, especially 
to Italy. To Provenpal poetry England presents no counterpart 
save perhaps the people's ballads and songs of Robin Hood. 
Not until the advent of the "courtly makers" of the reign of 
Henry VHI. was there any sign of change to an artistic literature. 
Religion and not Art, in short, was the "Time-spirit" of the age. 
So prevalent is the moral motive, indeed, that it is not surprising to 
find even Chaucer professing himself in his last years to be more 
thankful that he had translated the Consolation of Boethius and 
repeated Saints' Lives and religious homilies than that he had written 
the great works of his artistic imagination, the worldly vanities of 
which filled his senile mind with concern. As Mr. Lowell observes 
in comparing Chaucer and Dante, the main question with the former 
was after all the conduct of life. The conduct of life — this concern 
has been the characteristic English trait from Csedmon to Browning. 
That Lydgate's life tended to moral good if not to artistic purpose 



The Fear of Death. xliii 

is evidenced by the prayer of Hawes in his Excusation of the Pastime 
of Pleasure, who prayed God to give him grace to compile books of 
"moral vertue" — 

" Of my maister Lidgate to folowe the trace, 
His noble fame for laude and renue, 
Whiche in his lyfe the slouthe did eschue ; 
Makyng great bokes to be in memory, 
On whose soule I pray God have mercy." 

2. The Fear of Death and the Scorn of the World. — It is now quite 
generally acknowledged that the mediaeval conception of life is very 
accurately signified by a line in Dante's Purgatorio (xxxiii, 54-5) : 
"To those who live the life that is a race to death." It is notable 
that the same sentiment is repeated in almost the same words, 
though in broad Scotch, by William Dunbar, whose death year was 
just two centuries after the passing of Dante, his daily sombre line 
running : " Quhat is this lyfe bot ane straucht way to deid ?" 

These lines expressly point to what was the most characteristic 
feature of mediievalism, the almost universal dualism of thought. 
In art there was developed during the early Christian era a complete 
system of allegory and symbolism. A world of sense images on the 
one hand was set over against a universe of analogical and mystical 
meanings on the other, the former being strictly subordinated to 
the latter. This exaltation of the spiritual at the expense of the 
natural characterized the religious life of the whole people. As Mr. 
Kidd makes clear, the first fourteen centuries of our civilization were 
devoted to the growth and development of a stupendous system of 
otherworldliness. The supernatural became the object of the popular 
faith. And the conception of a future life simply overshadowed 
every consideration of the present. During the two centuries that 
I have noted, reckoning roughly from Dante to Dunbar, this faith 
in the other-world reached its culmination. Before Dante the 
boundaries of the dual realm had not been perfectly limned ; the 
construction of the circles of the supernatural was the work of the 
poet in whom thirteen centuries of Christianity actually came to 
expression. After Dunbar the spirit of the Renaissance is working, 
introducing into this divided universe the principle of unity. It is 
certain that in Shakespeare unity is well nigh established. The 
development of the English drama away from the supernaturalism of 
the Miracle Play and the abstraction of the Moralities and towards a 
more or less consistent realism indicates the breaking-up of dualistic 



xliv The Fear of Death. 

thought. Shakespeare having seen that men and women arrive at 
judgment in the world could disregard the life to come. Taking 
then into our view the dramatic realm of Dante, the other-world, and 
of Shakespeare, the present world, we discover in the centuries 
intervening between the life-work of these two artists the incidents 
of a remarkable transition in thought, the break-up of a dualistic 
system. In the art of the i6th century, which was more immediately 
the product of the Renaissance, the new principle of unity is seen to 
be confirmed. Naturally the tradition of religion continued longer 
in force. Still the Reformation church destroyed one feature of 
supernaturalism, the belief in Purgatory, and though it was under 
the necessity of maintaining the theory of Paradise and Hell, it 
laid greater stress than before upon the actual life of men upon the 
earth. It was after all a problem of the earth that Milton tried to 
solve — the justification of the ways of God to men. 

Following the rise of the system of otherworldliness there grew in 
the heart of man, century by century from the founding of the 
church, an ever present fear, a fear that for sinful men was only 
increased by the joy of the martyrs, the fear of Him who was called 
Death, the Foeraan, the invincible Archer. During the 14th and 15th 
centuries this dread of death was at its uttermost. On the physical side 
the fear at this period was heightened by the helplessness of all 
Europe before the ravages of the Black Plague, at the approach of 
which householders could only cry, "The Lord have mercy upon 
us." Spiritually the Day of Doom with its attendant terrors was a 
fully realized conception, and no man was so sure of victory that 
he did not tremble on the verge of the grave. 

By reference to the homiletic and didactic literature of the 14th 
and 15th centuries in England the fear of death is found to be part 
and parcel of the religious feeling of the time. In the Pricke of 
Conscience, which contains the religious meditations of that strange 
hermit and visionary, Richard Rolle of Hampole, most of whose life 
was contemporary with that of Dante and who bore about with him 
a certain Dantean mysticism, we learn of the Unstableness of the 
World, of Death and why it is to be dreaded, of Purgatory, Dooms- 
day, and the Pains of Hell. Dan Michel's Ayenbite of hiwyt, 
contemporary with Hampole's work, and illustrative likewise of the 
teachings of the church, takes a similar view of the present and future 
life. Comparing these and other typical treatises with reference to 
the report which they make upon death, it is seen that they accord 



Tlie Fear of Death. xlv 

in assigning to Death, who is invariably heralded by Dread, the 
execution upon all creatures of the awful sentence of doom. 

It was taught, to be sure, that to good men death may be the 
end of evils and the beginning of every blessing. Yet the righteous 
could not escape from the terrors that attend death — the death that 
might be eternal. On the day of Doom even angels and archangels 
shall tremble. In a parable it was written that at the door of the 
house of the .Spirit, Dread, the messenger of Death, should knock and 
demand entrance. He comes from Hell, the torments of which 
surpass the picturing of the imagination : in a great deep below 
Hell yawns, bottomless and frightful. Out of the stench and dark- 
ness rise the songs of sorrow from loathsome fiends in chains. Rest- 
less are the souls encumbered there, that are tormented by hunger 
and thirst, that are driven by heat and cold and bathed in burning 
pitch, withal feeling the turnings of the worm of conscience. Satan 
is there with his rake, having horns upon his head and knees, yawn- 
ing with his mouth, venting fire from mouth and nostril and eyepits. 
This was the background of terror upon which were pictured the 
glories of heaven. By hopeful ones it was remembered that Christ 
had descended into Hell and broken the gates asunder. Gentle spirits 
taught that " Loue is more stranger ^anne drede" (^j^. (^//ww. p. 75) 
that "Love of God driveth out fear" {Sawies IVarde, O. E. Horn. p. 259). 
Yet upon the foundation of fear the mediaeval church was erected. 
The church then seemed to have been established for little else 
than to harass the human race. 

The homiletic treatment of death and doom precedes the poetic 
by about a century. The chc<.racteristic utterance on these themes 
in English poetry is subsequent to 1400 and well along in the i6th 
century.' Yet Langland's great poem (about 1362-1393) has a con- 
tent typical of the century to which it belongs. Perhaps the most 
striking and vigorous passage in all his Vision of the World at work 
is the one descriptive of the procession of Death amid the "field full 
of folk": 

" Elde ^e hore he was in p& vauntwarde. 
And bare pG. banere bifor deth by righte he it claymed. 
Kynde come after with many kene sores, 
As pokkes and pestilences and moche people shente ; 

'See Sackville's picture in the Induction to the Mirrour for Magistrates 
and Southwell's Image of Death, and many others of like import even in the days 
of the Renaissance. 



xlvi The Fear of Draf/i. 

So kynde povw cdiupciouns kiillcd ful inanve. 
Deth cam diviicmlc after aiul al to doust passhed 
Kynges & knyghtes, kavseres and popes; 
Lered ne levved he let no man stonde, 
That he liitte euene ^at euere stired after. 
Many a lonely lady and lemmanes of knyghtes 
Swouned and swelled for sorwe of dethes dvntes." 

— P. PI. Pas. .XX. 11. 04-104. 

So ill the fear of death, Dunbar, a characteristic inelancholv 
figure of the 15th century, wrote liis startlini;- antl horrible Dance 
of the Serin Deidly Synnis. For "This fals warld," he said, "is bot 
transitory." When Beauty won her victory over the poet — so ran 
his allegorv — he was consigned to the custody of Grief. Youth 
and loveliness, bravery and wit, all come to an end : 

" Onto the ded gois all estatis, 
Princis, prelates, and potestatis, 
Baith riche and pur of all degre ; 

Timor mortis conturbat me." — Lamoit. 

The poets, "the makers" themselves, for all their sweet service 
cannot escape the end : "1 see the makers among the rest." 

"lie hes done petuously devour 
The noble Chaucer, of makaris Hour, 
The monk of Bery, and Gower. all thre; 
Timor mortis conturbat me." ' — Lament. 

At length the man that feared not Death found a place in Barc- 
lay's Ship of Fools (85th), the author knowing well : 

"There never was man of so greate pryde ne pompe 
Nor of such myght, youth nor man of age 
That myght gaynsay the sounde of dethes trompe. 
He makes man daunce and that without courage 
As well the state as man of lowe lynage 
His cruell cours is z.y so intretable 
That mannys myght to withstand is nat able." 

— Barclay, Ship of Fools, W. p. no. 

In this manner the Fool who thought to escape Death became a 
prominent character in the spectacle-plays. The Fool always ended 
by becoming perforce Death's servant. Shakspeare refers to the 
action in Measure for Measure (Act. III. Sc. i.): 

' This line occurs in one of Lydgate's poems and forms the burden of more 
than one of the popular songs of the day, indicating the rather "sad sincerity" of 
English life. And cf. Villon's ballad with the refrain: "Oil sont des neiges 
d'antan ?" 



The Fear of Death. xlvii 

" Merely, thou art death's fool ; 
For him thou labour'st by thy flight to shun, 
And yet runn'st toward him still." 

There were many sides, of course, to njediseval life. The monks 
often forgot their professions of sanctity and, living for the moment 
for the world, incurred — rightly, no doubt — the satire of the poets 
and preachers. Chaucer's gay, worldling monk who "loved vene- 
rie," and the churchman who knew rimes about Robin Hood better 
than his prayers and could hunt a hare in the fields better than a 
clause in a Saints' Lives, were not, ]jerhaj)s, uncommon types. 
Dunbar said, after all, "best to be blyth" in the face of the false 
world, and to his verses he often gave, like Villon, the sweetness of 
melancholy. Among the poems of the Percy MS. (Vol. 111. 56) is one 
entitled Death and Life and thought to be late Middle- English work. 
It contains a gracious picture of Lady Dame Life, brighter than the 
sun, redder than the rose, ever laughing for love, awakening life 
and love in grass and tree, in bird and beast and man, as she speeds, 
with Comfort, Hope, Love, Courtesy, Honor, Mirth, Mercy and 
Disport in her train, in her concpiest over Death. The sense of the 
piece, despite the intrusion of the "ugly fiend Dame Death," is that 
of gladness in the thought of life. Still the ballad shines by con- 
trast. It was most common, it appears, to scoff at the world — that was 
vanity and mockery. Where there was one like Chaucer who could 
take a calm, sane delight in life, seeing too deeply into the nature of 
things to despair, there were many like Pope Innocent III. to enu- 
merate without a gleam of hope the miseries of human conditions.' 
"/e worldeycleped pQ daneof tyeeres," expresses Dan Michel's judg- 
ment. Langland, the English Mystic, had likewise an austere and 
frowning face, and, having in his view the "field full of folk," 
burned with indignation at the worldlings there that Chaucer loved, 
the latter poet's sunny and sensuous tales being regarded as mortal 
sin. Death it was that made the world a mockery. When 
Graund Amoure, in Hawes' Pastime of Pleasure, became eager to 
heap up the world's riches it was Death that stood by to warn that 
these are valueless. So it was Death that rendered Nature 
unlovely. In the ^:crt:/;«//^ ^/F/W?/^ Hawes brought Lusty Juven- 
tus within the glorious mansion of Dame Nature, whose perfect 
loveliness the youth admired ; but Discretion, as was his part, led 

' De Contemptu Miindi sive de Miseria Conditionis Humana:. 



xlviii TJic Fear of Death. 

to a place where the goddess's back was seen, which was all marred 
by an image of Death. 

Taking now into consideration these two sentiments of mediaeval 
life, the scorn of the world, and the fear of death, it is noteworthy 
that Lydgate represents most fully the religious attitude. In his 
youth he loved the pleasures of the world. In his Testame/it, refer- 
ring to his wayward youth, he tells how he was converted : 

" When Ver is fresshest of blosmys and of flourys. 
An vnwar storm his fresshnesse may apayre. 
Who may withstande the sterne sharp shourys 
Of dethvs power, wher hym list repayre? 
Thouhe the feturis fresshe, angelik and fayre, 
Shewe out in childhood, as any cristal cleer, 
Dethe can diSace hem witheyne fyfteene yeere. 

"Which now remembryng in my latter age, 
Tyme of my childhood, as I reherse shal, 
Witheyne tifteene holdyng my passage, 
Mid of a cloistre depict vpon a wal ; 
I sauhe a crucifix, whos woundys were nat smal, 
W'ith this woord vide writen ther besyde, 
' Behold my meeknesse, O child, and Icfe thy pride.'" 

From various sources we have the outward aspect of the monk 
in this "latter age" revealed. In a Shirley MS. (Addit. 16,165 Brit. 
Mus.) reference is made to "Lydgate the Monk clothed in blakke." 
Douglas, mentioning Lydgate among the poets in the Court of the 
Muses, witnesses that he "raid musing him allone" {Palice of 
Honour ^j In the prolog to the Story of TJiebes, written by Lydgate 
to complete the Canterbury Tales, he describes himself as looking 
pale and bloodless and wearing a cape of black — no fit companion 
for Chaucer's gaver pilgrims one would think. But the most per- 
fect description is given by William Bullein in his Dialogue against 
the Fever Pestilence (Lond. 1573). Having spoken of Homer, 
Hesiod, Ennius and Lucan as favorites of the Muses, Bullein adds 
to the list of beneficiaries Gower, Skelton, Chaucer, and Lydgate. 
The last he thus describes: "Lamenting Lidgate, lurking emong 
the lilies with a bold skons, with a garland of wiliowes about his pate ; 
booted he was after Sainct Benet's guise, and a black stamell robe, 
with a lothly monsterous hoode, hahging backwarde ; his stoopyng 
forward, bewavling euerv estate, with the spirite of prouidence for- 
seyng the falles of wicked men, and the slipprie seates of Princes, 
the ebbyng and flowyng, the risyng and falling of men in auctoritie, 



The Fear of Death. xlix 

and how vertue doth aduaiince the simple, and vice ouerthrowe 
the most noble of the worlde." (Bullein's Dialogue, E. E. T. S., 
p. 17.) 

Of these accounts there is every justification in Lydgate's writings. 
The dominant themes are without question those connected with the 
thought of death and change. The painting at St. Paul's of the 
procession of Death seemed to impress his mind deeply. Beside 
his translation of the French verses of the Dance Macawbre more 
than one reference occurs in his lyrics to the "Daunceof Poules" 
{Minor Poems, p. 34, 77). Often he pictures life as a hard pilgrim- 
age, "in which there is no stedfast abyding." He harps recurrently 
upon the wretchedness of human affairs — the note being taken, he 
afhrms, from his master Chaucer ! One of his favorite topics is to 
show the greatness of mankind and how they are brought low : "All 
do but show a shadow transitory." 

"Stabilnesse is founde in nothyng, 

In worldly honour who so lokithe wele ; 
For dethe ne sparithe emperour ne kyng, 

Thoughe they be armed in plates made of Steele ; 
He castithe downe princes from fortunes wheele, 

As hir spokes rounde about goo, 
To exemplifye, who that markithe wele, 

How this world is a thurghfare ful of woo." 

On the Wretchedness of Worldly Affairs, M. P., p. 126. 

"Considre and see the transmutacioun, 
How the sesoun of greene lusty age, 
Force of juventus, hardy as lioun, 

Tyme of manhood, wisdom, sad corage, 
And how decrepitus turneth to dotage, 

Al cast in ballaunce, bewar, forget nothyng, 
And thu shalt fynde this lyff a pylgrymage. 
In which there is no stedfast abydyng." 

— On the Mutability of Human Affairs, p. 198. 

The Daunce of Poules or the Daniice Macawbre consists of verses 
spoken by Death to the various persons he is leading to the 
grave and of their responses. x\ll must go upon this dance, the 
Pope, the highest in the land, the Emperor, the Cardinal, the Em- 
press, the King and all the lower ranks — there is none escape. 

" In this myrrour every man may fvnde 
That hym behoveth to gon upon this daunce 
Who goth to forne or who schal go behynde 
Al dependeth in goddes ordynaunce. 



1 The Co7ivaitional Materials. 

Wherfor eche man lowly take his chaunce. 
Deth spareth not pore ne blode ryal, 
Eche man therfor haue this in remembraunce 
Of on matere God hath forged al." 

The Assembly of Gods is the consummate expression of Lydgate's 
fear of death. Death is here the central figure throughout. In the 
fear all accord — Lydgate, Reason and Sensuality. Very appropri- 
ately the last recorded line written by this somewhat sombre monk, 
line 1 49 1 of the Secrees of Old Philisoffres, is of Death : 
"Deth al consumyth which may nat be denyed." 

3. Tlic Conventional Materials. — The Assembly of Gods in respect 
to its materials, its machinery, so to speak, is anything but original. 
The poet is thrown into the conventional sleep by a lake side, on 
the hackneyed spring morning. At once we expect the poem to be 
crammed full of stereotyped theology, mythology and allegory. 
Indeed the work as a whole is merely a mosaic of current traditions, 
the different parts being fitted together with more or less perfect skill. 
When, then, we come to estimate the literary effects of compositions 
of this sort, their origins and history must be taken into account. 
Mediaeval ideas had always a definite pedigree. While modern 
romantic literature is most characterized by its personal element, 
mediaeval literature may be divided rather into impersonal classes, as 
romances, chronicles, lays, etc. Individuality rarely appeared as an 
element of poetic composition. Each writer, being under no com- 
pulsion to originate or invent, simply threw what he had to say into 
the prevailing form. The genius of poetry, both with respect to 
form and materials, was conventionality.' An artist was held in esti- 
mation according to his skill in plagiarizing from the world's 
literatures. It was sufificient that he could wisely quote, that he had 
won a reputation for scholarship, and that the epithet "learned" be 
attached to him. It is characteristic of the age that Dante, after a 
youth spent in writing love songs, should plan a Convito, to be avast 
encyclopaedic work, so anxious was he that the title of "learned" 
might offset the reproach of a youth misspent in composing love 
sonnets. So Chaucer was called with approbation "learned" and 

'This feature of mediaeval literature is commonly spoken of by readers 
slightingly and with meagre patience. But a traditional literature is cumulative, 
so to speak, in its effects. Repetition is then a virtue and not a weakness. Tra- 
ditions are most effective at the momen^t of most common use. A later age is 
quite incapable of giving full and due credit to conventions that have passed ; it 
should at least exercise charity. 



The Conventional Materials. li 

the "great translator." In his case, by reason of the blending in 
his works of his own stream of romantic fancy and feeling with this 
remote traditional tide, often strange anomalies of thought were 
produced. In fact Chaucer was differentiated from the writers of 
the period by his originality which worked with new results upon 
the materials that tradition had given him. Yet it was for his learn- 
ing that he was most admired. It is not necessary to disprove the 
extent or accuracy of Chaucer's attainment in this respect.' Like 
other writers of the period he was learned enough to refer sugges- 
tively to matters more or less familiar to his readers, who held their 
own knowledge loosely, and in the manner of all middle-age erudi- 
tion, without critical accuracy. A work of this period is not then to 
be interpreted by itself but by the class of literature to which it 
belongs by virtue of associated themes and motifs. When one first 
reads the opening stanzas of the Assembly of Gods he exclaims 
that it is a dream like Piers the Plowman, like the Poem of the 
Pearl, like the Roman de la Rose and the Divina Comedia. These 
poems and many more add their several contributions to one's 
delight. A phrase here, a thought there, the dream, the allegory, 
the pictured walls, the theme of death, in one way or another 
serve to recall pretty much the whole of mediaeval literatures — just 
probably as the author intended. Only by thus recovering the past 
and setting a work in the historical current, can we understand the 
pleasure and profit with which a poem of this kind was read by 
contemporaries and by those of a later time to whom its literary 
traditions were familiar. We must remember that to Lydgate,'^ for 
a century after his death, the distinction was given of belong- 
ing with Gower and Chaucer to the great triumvirate of letters. 
Not alone for his " sugurit lippis and toungis aureate" was this 
fame acquired, though for these he seems to have been most admired 
by Hawes, the Scottish poets, the critic Webb, and the poet Gray; 
but his praise was in the mouth of his nearest disciple, Benedict 
Burgh, for that "ye have gadred flouris in this motli mede," — in the 
literature, that is, of the past — and on this account "to yow is yeven 
the verray price of excellence." Of course a succeeding age, intent 
upon the Reformation and the New Learning, forgot the mediaeval 
traditions, the dream, the allegory, the teachings of Doctrine, and 

' Cf. Lounsbury Studies in Chaucer, ch. v. 

* For the subject of Lydgate's literary fame v. Sidney Lee's summary in Diet, 
of Nad. Biog. XXXIV., p. 309-10. 



lii The Convcntioial Materials. 

Lydgate and his school were relegated to obscurity. Chaucer sur- 
vives now not for his learning but because of the perrennial charip. of 
his native genius. No one of us cares much for Boethius or 
Fulgentius or Prudentius, or even Dante in his doctor's robes, dead, 
all of them, to modern comprehension. 

No one will question Lydgate's learning or the extent of his 
reading. He was more or less familiar with ancient and mediaeval 
literatures, especially that written in Latin and French. His library 
contained much the same books that Chaucer, Gower and Langland 
read. He is as pedantic as they in filling his pages with the names 
of authors and famous men. He illustrates, as they, the influence 
exercised in poetry by the scholastic and encyclop;tdic training of 
the Church and School. Mr. Lee's statement on this point is suf- 
ficient : 

"Lydgate mentions familiarly all the great writers of classical 
and mediaeval antiquity. Of Greek authors he claims some aquaint- 
ance with 'grete' Homer, Euripides, Demosthenes, Plato, Aristotle 
and Josephus. Among Latin writers he refers constantly to Ovid, 
Cicero, Virgil, and his commentator Servius, Livy, Juvenal and 
'noble' Persius ; to 'moral' Seneca, Lucan, Statius, Aulus Gellius, 
Valerius Maximus, Prudentius, Lactantius, Prosper the 'dogmatic' 
epigrammatist, Vegetius, Boethius, Fulgentius, Alanus ab Insulis, 
and Guido di Colonna. Dante, Petrarch, and Boccaccio are 
repeatedly commended by him among Italian writers, and he was 
clearly acquainted with the 'Roman de la Rose,' with French 
fabliaux, romances, and chronicles." — Diet. Natl. Biog. XXXIV., 
p. 309. 

The mosaic of the Assembly of Gods is made up of the following 
materials, all of which are traditional and common. 

Introduction with the season motif. 

The dream. 

The painted walls. 

The School of Doctrine. 

The pagan Divinities. 

The court scene and the banquet of the Gods. 

The Nine Worthies and the learned men of antiquity. 

The allegory. 

Proverbial phrases. 

The teaching of the Church. 

The Seven Sins and Virtues. 



The Season Motif. liii 

The battle of Antichrist. 

The Liberal Sciences. 

The five Wits. 

The fear of Death. 

The romance of Paris and Helen. 

4. The Season Motif} The introduction of Middle-English 
poems by reference to the season of the year and the position of the 
planets seems generally to have been merely a part of the machinery 
of composition — a happy way of getting started. The same pre- 
lude is met with in the Provencal, French and German lyrics of the 
period with wearisome regularity. The May landscape especially 
was stereotyped into set forms that could have had but a rhetorical 
significance. With Chaucer and most of the Scottish poets, the 
nature-prelude was, one feels, something more than derivative. 
Chaucer, King James, Dunbar, and Douglas especially appear to 
draw quite directly from nature with a heartfelt feeling for the 
season. They write with an unction and an eye for delicate effects 
never exhibited in the purely conventional prelude. Chaucer's love 
of nature amounted almost to a passion. Whatever he touched 
broke into full blossom. Reading him, as Lowell says, is like brush- 
ing through the dewy grass at sunrise. Poets with Chaucer's spirit 
had naturally a sense for nature as a dramatic background for their 
compositions. Thus it was agreed that May" was the "mirthful 
month," the " quicking" season, the month of "joy and disport," 
the one that "among months sittith like a queen" — the time, there- 
fore, for beginning love-poems and romantic allegories. Chaucer 
tells us that in the Spring he would say farewell to his books and 
walk out in the meadow; this was the time to compose "Seyntes 
Legends of Cupid." The association of the romances with the 
Spring was so common that there came to be a saying that "Arthur 
is the man of May." Where the dramatic motive was present other 
seasons would be employed as the occasion required. The Pearl 
occurred in the high season of August when the reapers' sickles 
were in the corn. Lyndesay's Drenie opens appro})riately with a 

' See McLaughlin, Studies in MedicEval Life and Literature, c\\. i.; also Veitch, 
Nature in Scottish Poetry. 

'There is a primitive feelini,' among poets that Spring is the season of delights. 
Keats had this sense in a large degree when he began to write Endyinioi "while 
the early budders are just new," hoping that no wintry season should find his work 
incomplete. 



liv The Season Motif 

dreary winter's night in January. Dunbar's horrible Daiue of the 
Sinus is seen in February. Sackville's Alirrour for Magistrates, 
which harks back to the Chaucer School, begins in the " wrathful 
winter." In one instance Chaucer opens a poem, the Hous of Fame, 
modelling his work upon Dante, with the December season. In 
Henryson's melancholy story of Troylus and Creseyde there is an 
open effort to construct a dramatic background, for the poet says 
in beginning : 

" Ane doolie sesoun to ane cairfull dyie 
Sidd correspond, and be equivalent; 
Richt sa it wes quhen I began to write 
This tragedie, the wedder richt fervent, 
Quhen Aries, in middis of the Lent, 
Schouris of haill can fra the nortli descend, 
That scantlie fra the cauld I micht defend." 

But there are other cases, as Langland's Piers the Plowman,^ where 
no Eesthetic value in the prelude can be determined. The last of 
these derivative forms, as in Skelton's Bowge of Court, or Fletcher's 
Purple Island, seem but rhetorical. The conventional aspect of the 
introduction is well displayed by Lyndesay when he begins his 
doleful Monarcliie with the May morning, as if he were unable to 
get started in any other way, but realizing that his purpose is to 
describe mortal miseries, he calls a truce to his vain descriptions 
and turns to the matter in hand. 

In the minds of some writers there may have been a thought of 
the planetary influences that ever streamed down from the heavens 
upon the earth. Astrology is known to have been an attractive 
theme to the mediaeval poets. "It was the delight of Dante," says 
Dean Church, "to interweave the poetry of feeling and of the out- 
ward sense with the grandeur of order, proportion, measured mag- 
nitudes, the relation of abstract forces displayed on such a scene as 
the material universe." Chaucer constantly makes a literary use of 
astrology though personally skeptical of the pretentions of the 
science. This perception of the starry forces at work in the lives 
of men must have been present in the first of the preludes. Thus 
the introduction served almost the function of an invocation to the 
Muses. King James, indeed, invoking the Muses Nine, passes at 
once to consider the Spring "that full of vertu is and gude." In 
one of the very earliest of the poems containing the typical season 

'Langland seemed to have had Mapes' Golias satire in mind when he began 
to write. Note Mapes' "Inter prodigia plebem innumeram." 



The Vision. ' Iv 

motive, the Apocalypse of Golias, written toward the close of the 12th 
century, the astronomical allusion is prominent • 

"A Tauro torrida lampade Cynthii 
Fundente jacula ferventis radii 
Umbrosas nemoris latebras adii, 
Explorans gratiam levis Favonii. 

Aestivae medio diei tempore, 
Frondosa recubans Jovis sub arbore, 
Astantis video formain Pythagorae : 
Deus scit, nescio, utrum in corpore." 

May was the month of life because the planets at that season had 
special power of hot and moist.' 

With Lydgate and his immediate pupils, as Hawes in the Pas- 
tifne of Pleasure, the astronomical introduction is apparently a 
matter of pure literary habit. The vision of the Temple of Glas 
takes place in December, after its model the Hous of Fame. The 
opening of the Assembly of Gods — the only reference to nature in 
the work — is conventional. It is barely possible that in the monk's 
scholastic mind there was in the reference to the spheres the sug- 
gestion of the harmony to be achieved by Reason and Sensuality. 

5. The Visio)!.^ In the psychology of the Middle Ages the 
vision is perhaps the most remarkable phenomenon displayed. The 
records of dreams constitute in Europe and England an entire lit- 
erature with features peculiar to the kind. Some of this dream- 
work is in imitation of the revelations of Scripture ; some works 
are clearly due to the hallucinations of an ascetic life ; some are as 
plainly the results of adoration, the fruits of "contemplative life," 
in the exercise of which men passed from the knowledge of things 
of sense to knowledge of things eternal ; others reveal the passion 
for dogmatic definition that characterized the schoolmen however 
mystical the theme ; other forms are secular and merely a part of 
the higher rhetoric of poetry as then conceived and developed. 
After the Bible, the head sources of the mediaeval visions seem to 
have been the " Dialogues" of St. Gregory, a compilation of many 
religious dreams, the De Coiisolatione Philosophice of Boethius, and 
the Somnium Scipioiiis in Cicero's treatise on The Republic. In 

' For the effects of the seasons upon the lives of men see Lydgate's Testat}ieni, 
The Mutability of Human Affairs, and the Secrees. 

*See Y^tcVy'^ History of European Morals, 11., pp. lib et seq., 220. For fur- 
ther references to the literature of the vision see Schick's Intro., p. cxviii. 



Ivi Proverbial Phrases. 

general, two types of vision are distinguishable, in accordance with 
their monastic or worldly origin. In the visions of one class the 
dreamer takes into his view the circles of the supernatural, and 
reports as man may of the revelations accorded him either of 
Heaven or Hell or the intermediate states. In the other class the 
objects of contemplation are in the "wilderness of this world," and 
the dream may be but a poetical device, a kind of framework for 
any secular action or incident, as the experiences of a lover 
in the Romaioit of the Rose. In English literature illustration 
of the first type is furnished by The Pearl, with its view of the 
heavenly city ; Dunbar's Dance of the Seven Deadly Sinns, with its 
vision of Hell ; and Lyndesay's Dreme, which gives the reader sight 
of all the circles of the Infinite. Probably the earliest instance in 
England of this kind of dream is the Apocalypse of Golias, written 
in Latin by Walter Mapes (b. 1143), a work which enjoyed an 
extraordinary popularity during the 13th and 14th centuries. The 
chief examples of the second type are Langland's Piers the Plow- 
man, Chaucer's several dreams. King James's Qiiair, Dunbar's 
Golden Targe, Skelton's Bowge of Court, etc. 

The Assembly of Gods is in its scope a vision of the first order, 
though the battle takes j)lace in Microcosm. Probably Lydgate 
did not have any very real sense of the other worlds, nor could he 
ever loose his imagination so that he really saw visions— at best he 
asked but for dogmatic definition as the schoolmen before him. 

6. Proverbial Phrases. Like other writers of the period Lyd- 
gate makes a conspicuous use of conventional phrases and pro- 
verbial sayings. A considerable body of proverbs, rhetorical figures, 
and phrases may be gathered from his works, some of which are 
peculiar to his own usage and style, while others are the common 
property of literature. On a later page is given a list of the prov- 
erbs and phrases emploved in this poem. The manner of the 
employment of a stock simile by writers is well illustrated by the 
history of the phrase "hair like gold wire" which seems to have been 
given currency by Lydgate. The simile first occurs in Layamon's^r/// 
(11. 7047-8), where it is employed to describe King Pir who was so 
wondrous fair. By Lydgate it was first used to characterize the 
feathers of a bird in the Chorl and Bird. In the Temple of Glas 
and the Assembly of Gods (1. 373) the reference is to Venus with her 
ever sunnish hair. In the Troy-Book it occurs no less than seven 
times being applied both to men and women. The larger compari- 



The Fai/itcd Wall. Ivii 

son "hair like gold" is often found in European literature before 
Lydgate as in the Roman de la Rose, but this special phrase is Lyd- 
gate's own. From this time to the close of the sixteenth century 
the figure is in constant employment', generally descriptive of 
women of ideal beauty. Its force is partly spent in Shakespeare's 
time, for the reverence for gold hair is satirized by the saying of 
Benedick in Much Ado about Nothing (II., 3, 36) : " Her hair shall 
be of what colour it please God." In sonnet cxxx. reference is 
made to Lydgate's simile in the line, "If hairs be wires, black wires 
grow on her head." 

7. The Painted Wall.^ The pictured wall was another rhetorical 
device common to mediaeval poetry — an elastic framework into which 
any subject could be made to fit. It was a convenient means of 
extending indefinitely the scope of one's work. To such an extent 
was the method carried that a secondary poet like Stephen Hawes 
cannot mention a wall without covering it over with pictures. 
Instances of the usage will be found in Boccaccio's Thesiad, in the 
romance of Guigemar by Marie de France, Lorris's Rotttan de la 
Rose, Chaucer's Boke of the Duchesse, Lydgate's Temple of Glas and 
Assembly of Gods, Hawes's Pastime of Pleasure, Dunbar's Dream, 
Barclay's Towre of Vertue and Honour, etc. In the romances the 
stories depicted are commonly those of love. In Guigemar, for 
instance, the walls are painted with images of Venus and scenes 
from Ovid's Art of Love, and in the Boke of the Duchesse the 
imagery is that of the Roman de la Rose. In descriptions of the 
temples of Mars and Diana scenes of war and the hunt will appear. 
The siege of Troy or Thebes was a favorite theme for the walls of 
palaces. Scriptural scenes occur in cathedrals and cloisters. Dun- 
bar saw on his chamber walls 

"All the nobill stoiyis old and new, 
Sen oure first father formed was of clay." 

' For many instances of its usage see Schick's Temple of Glas, notes, pp. 88- 
90 ; and Kolbing, Bevis of Hamloun, notes, pp. 244-5 ; ^"d for a full discussion of 
its usage and resthetical meaning see a paper by the present editor read before the 
English Club (Chicago) and reported in outline in the University Quarterly Calen- 
dar (May, 1895), p. 80. 

''See Warton, Hist, of En g. Poetry, II., pp. 131, 275, 402; III., p. 63; on 
page 402, Vol. II., is reprinted a passage from an Itinerary written in 1322 describ- 
ing Westminster palace ; see Longfellow's Golden Legetid for instances of picture 
and plav; a description of convent walls is given in Piers tlie Plowman'' s Crede, 
11. 1 86, et seq. 



Iviii Pagan and Christian Traditions. 

While this method is an open piece of machinery when viewed 
as rhetoric, quite ludicrous too when as elaborate as Lydgate's arbor 
walls which reveal the history of the world in small, yet it should 
be remembered that during the Middle Ages the picture was the 
favorite means of conveying story and doctrine. It is a remark- 
able feature of mediaeval art that often no positive line of division 
can be drawn between literature and picture or spectacular show. 
The paintings on royal palaces of the scenes of war, the weaving on 
ladies* tapestries of the incidents of romance, the picturing on 
cloister walls of the saints and scenes from Scripture, the depiction 
in public places as on the bridge at Lucerne and in the churches in 
France and England of such instructional processionals as the 
Dance of Death, the scenic representation of sacred things in 
liturgies, and pageants and street plays — these constituted the 
popular literature of the period, of far greater influence than the 
written page that issued from the scriptorium of the monastery. 
Allegory, the written picture, necessarily adopted the scenic method 
for which the mind was already prepared. This interplay of 
imagery between picture and allegory contributed much to the 
later establishment of an independent literature. But for the 
present the pictorial was the literary. Even Chaucer was not 
freed from the necessity of "drawing of picture." 

8. The Admixture of Pagan and Christian Traditions. — One 
characteristic of the Assembly of Gods is the curious admixture in 
it of pagan and Christian traditions. The pagan deities are all 
ranged on the side of the Vices of Christendom. The Christian 
Vice is represented as the son of Pluto, who is the Lord of the 
Christian Hell. The ancient Fateful Atropos, who cut with shears 
the thread of pagan life, is transformed into Death with a lance, the 
dread of the Christian Church. 

It was the almost universal practice of the poets of late Middle 
English to confound the mythology of all peoples and to mix up 
incongruously the pagan myths and Christian allegories, constitut- 
ing in fact a veritable mythology of their own. Gower in his Confessio 
Amantis, Douglas in h\'s Paltce of Honour, King James in his Quair, 
and others of the allegorical school display their learning in this man- 
ner. Such usage points to the renaissance of paganism, accompany- 
ing the temporary decay of Christianity in the 14th century, and to the 
rise of a new mythology, and foreshadows the new learning of the next 
century. The results of this renaissance in Europe a century later 



Pagan and Christia/t Traditions. lix 

are well exhibited by Browning in his poem, The Bishop Orders his 
Tomb, where Pans and Nymphs, symbols of Delphic wisdom and 
Bacchic revels, the Saviour on the Mount, St. Praxed in his glory 
and Moses with his tables are brought into juxtaposition on the 
sculptured tomb. We know too that in Italy Plato was called the 
second Moses and Orpheus, Empedocles, Parmenides and others 
were placed on a level with David and the prophets. 

In some cases there seems to be more than a jjoetic use of the 
machinery of mythology — as if some profound meaning was 
read into the ancient myths. Always when traditional currents 
from different sources blend, the underlying human meanings are 
transferred and commonly understood. When Angelo painted in the 
Last Judgment an Herculean Christ he was clearly not irreverent. 
Dante wrote Olympus for Paradise {Purg. c. xxiv. 1. 15). He spoke 
of Christ as "Sommo Giove" who was crucified for us [Purg. c. vi. 1. 
118). In canto xxix, the Grifon naturally symbolizes the Christ. In 
a like spirit Milton and others have spoken of Christ as the "mighty 
Pan," and Milton's Deity, as Lowell observes, was a Calvanistic Zeus. 
Even Bunyan introduces, into his Holy War, Cerberus, who swears 
by St. Mary, and the Furies, Alecto, Megaera and Tisiphone, and 
the incongruity of their presence there seems to have escaped his 
attention. Chaucer in calling one of his works the Seintes Legend of 
Cupyde must have entered into the spirit of the heathen pantheism 
as a real form of religion.' 

It is not so clear that Lydgate entered very deeply into the spirit 
of mythology. His usage is not very consistent. In the Assembly 
of Gods Cupid is counted among the vices. But in another piece 
attributed to Lydgate (Fairfax MSS. xvi. Eibl. Bodl.) the rubrics of 
the missal are applied to the god Cupid for whose sake many were 
martyrs. In the Life of Our Lady the beauty of the Virgin Mary 
is compared with that of Helen, Polyxena, Lucretia, Dido, Bath- 
sheba and Rachel. The clearest case of insight is in his Testament 
where Jesus is spoken of as 

"Our Orpheus that fro captvvyte^ 
Feit Erudice to his celestial tour." 

In the present instance Doctrine is under the necessity of explain- 
ing away the heathen worship. 

'Cf. Mr. Jephson's remark, Skeat's ed. Pr. Tale, notes p. 136. 
* Jesus was frequently represented in early Christian paintings in the form of 
Orpheus, who overcame death. 



Ix The Allegorical Type. 

9. The Allegorical 7)^<f.— Middle-English literature exhibits two 
types of allegory : the one religious and scholastic, having its origin 
in the exegetical and homiletic literature of the monks and leading 
on to the literature of the Reformation ; the other secular and pro- 
fane, embodying the spirit of romance, personifying especially the 
God of Love, who was the central object of the song and worship 
of the continental minnesinger and troubadour, leading on in its 
turn to the literature of the Renaissance. The two types, differing 
thus in origin, while often confused with respect to form, are always 
distinguishable in motive. 

The original Roman de la i'?^^^' represents in one composition the 
double type already established on the continent. The first part, 
being conceived in a love of beauty and composed with the fancy 
and imagination actively at play, is pure poetry. Lorris, though a 
belated trouvere,vfa.% true at heart and sang as the impulse prompted 
him. The second part of the Roman, written forty years after the 
first by a reforiper and moralist, Jean de Meung, not to be mistaken 
for a poet, is didactic, satirical, and metaphysical. By the aid of 
Lorris's personification, Meung was enabled to expound and popu- 
larize his ideas of reform, but his impersonations recall nothing so 
well as the entities of the schoolmen. The personifications and 
materials of the didactic system were adopted by the poets whose 
purpose was moral or satirical, by Langland, Gower, Lydgate, Lynde- 
say, Skelton and Barclay, and by the Moral-plays so soon as person- 
ification became necessary in the advance of the drama from scenic 
representation to dramatic characterization. 

Upon the model of the Roman de la Rose, which was translated 
into English with amplifications of the first part and omission of 
much of the second part, were formed the love allegories and 
romances which, being all in the " May morning " style, with sunny 
gardens and birdies manifold, contain whatever of poetic inspir- 
ation the later Middle Ages in England possessed. The new 
Romaunt of the Rose provided the staple model for the poets of 
the court. It directed the composition of the Court of Love, and 
was the chief influence that entered the Dreme, Chaucer's Boke 
of the Duchcsse and perhaps his Hous of Fame. To the list we 
may add Lydgate's Temple of Glas, which was modeled upon 
Chaucer's ffous of Fame, and probably Hawes's Pastime of Plea- 
sure. To the same family of romance allegory belongs much 
of the literature of Scotland written during the 15th century, that 



The Allegory and the Moral Play. Ixi 

at least of most refinement and delicacy, notably Dunbar's Thissil 
and the Rois and the Golden Targe, and the beautiful Qiiair by 
James, "the best poet who ever was a king." In the romantic vein 
Gawain Douglas wrote his Palace of Honour, a more serious style 
appearing in King Hart, which allegorizes the progress of human life. 
This stream of romantic allegory flows on to Spenser, forming in the 
Faery Qiieene the supreme type of poetic allegory. Though Spenser 
was an artist of the Renaissance he was yet the literary descendant of 
Chaucer and the medireval romanticists, of those who were too great 
as artists to be ever dominated by the moralities. 

As for the rest of the allegorical literature in late Middle-English 
the tendency is to sermonize. In the case of Langland and perhaps 
of Lyndesay theirseriousness is of such a nature as to claim our atten- 
tion as artistic. Gower might have been a romancer if he had not 
seen behind every tale some hidden form of Vice. John Skelton, 
laureate of Henry VII, the last of the school which called Chaucer 
master, while writing some pieces in the romantic spirit, yet is more 
pleased to satirize follies and vices as in his Bowge of Court. Char- 
acteristic of the times now that the Reformation was near at hand 
is the Ship of Fools (1508), a satirical allegory after the model of 
Brandt's Swabian poem, by Barclay who caught up for the purpose 
of satire the idea of a navy of practical vices sailing out presum- 
ably into the ocean of ruin. Erasmus in a corresponding spirit 
wrote his satirical Praise of Folly. The allegory of the Reformation 
culminates at length in Bunyan's Visions. 

To this now primary and now secondarv stream of moral and 
allegorical literature Lydgate's Assembly of Gods belongs. This is 
not, however, satirical or very serious concerning reform, and it 
strives after certain effects of the Romaunt of the Rose. But so 
far as Lydgate is concerned the romantic tide has ebbed — he is a 
monk with the interest of the church at heart. 

10. The Relationship between the Allegory and the Moral Plav. — 
The close relationship between the moral plays and the Asseniblv of 
Gods is clearly seen. In an earlier period' such poems as the 
Cursor Mundi and the contemporary miracle plavs exactly corre- 
sponded, the only difference being that one was recited and the 

'It is conjectured with good reasons that the demon frolics in Dante's Infcrvo, 
c. xxi and xxiv, were reproduced from some dramatic mvstcrv plavs of which the 
performances on the Ponte Carraia at Florence in 1304 are conspicuous instances 
(Plumptre). 



Ixii The Allegory and the Moral Play. 

other acted. The same correspondence existed later between the 
moral plays, which represented the natural dramatic evolution from 
the miracle plays, and the allegories, which exhibit a like advance in 
dramatic expression. This interaction between the two forms of 
art is important to observe. The moral play involved allegory as 
an essential part of its artistic apparatus. In the very earliest 
pageants and plays, allegorical characters, taken from both profane 
and sacred writings, played a more or less important part. The 
miracle plays required the introduction of such characters as Sin 
and Death, Faith, Hope and Charity. Among the first innovations 
were representations of Veritas, Justitia, Pax and Misericordia, as in 
the "Parliament of Heaven" in the English Coventry series (XI). 
As early as Henry VI., whose reign may be fixed upon as the epoch 
of the permanent adoption of the moral play (Collier, An. of the 
St., p. 32), personification of the Sciences, Nature, Grace, Fortune, 
and the moral qualities was well known. The World, Flesh and 
Devil appeared in character in Originale de Sancta Maria Magdalena, 
a play of the time of Henry VII. The play of £very man, belong- 
ing perhaps to the time of Edward IV., is one of the most perfect 
allegories ever given form. In the Vices and Virtues especially 
there was something inevitably dramatic in the very nature of con- 
trast. So that with few exceptions the allegory of the Moral-plays 
is based on the contest between good and evil in the mind of man ; 
of this character is the allegory of the Castle of Perseverance, Min 
Will and Understanding, Nature, The World and the Child, Hick- 
Scorner, Everyman, Ltisty Juvenilis, etc. It is probable indeed that 
the one allegorical figure Vice, in his Protean character of Infidel- 
ity, Iniquity, Hypocrisy, Desire and the like, has played a more 
conspicuous part upon the stage than any other single dramatic 
personage. 

Thus the familiar use of allegorical personages upon the stage 
contributed to the popular taste for allegorical poems. The names 
representing abstract qualities recalled so vividly the actual persons 
seen upon the stage that the mere recitation of the qualities was 
sufficient to body forth the form. The catalog of names in the 
Assembly of Gods is tedious enough to the modern reader, but in an 
age of objective dramatic presentation the names and persons were 
intimately associated. 

The Assembly of Gods finds its analogue then in the contempo- 
rary Moral-plays. The poem may actually be divided into scenes 



The Allegory of the Vices and Virlues. Ixiii 

and the persona speak in character. Some portions, as the assem- 
bly of the gods and the gathering of the different hosts, might take 
the form of a masque/ Poem and play differ only in the method of 
presenting the same form of thought. 

The dramatic cast of the poem might well be expected in the 
case of Lydgate, who seemed as well able to direct a street pageant 
as to write verses in a cloistre. He devised pageants for the Mer- 
cers' and Goldsmiths' Companies in honor of Wm. Estfield, who 
was London's mayor in 1429 and 1437 (v. Diet. Natl. Biog., XXXIV, 
p. 306). Stowe in his Annals of England {y^. 385) witnesses that in 
T445, ^t the reception in London of Queen Margaret, the wife of 
Henry VL, several pageants were exhibited at Paul's gate with 
verses written by Lydgate (v. Hist. Eng. Pageants, ed. Howes, p. 
385; Fur le Roy, M. P.). According to Ritson {Bibl. Poet, p. 
79) Lydgate wrote a Disguising or Mumming before the King at 
Eltham. Ritson also inserts in his list of Lydgate's works "a pro- 
cession of pageants from the creation." This is exceedingly doubt- 
ful, for, as Halliwell says (M. P. p. 94), Ritson only copied from 
Tanner, whose conjecture it was that the Coventry Series of Miracle 
Plays was written by Lydgate. But the Processioun of Cotpiis Christi 
(title given by Shirley), attributed by Ritson to Lydgate and so 
printed by Halliwell, while not dramatic in form, contains an enu- 
meration and description, as if in procession, of Patriarchs and 
Saints from Adam to Thomas Aquinas. The Dance of Death and 
the Pilgritnage of the J Forld are essentially dramatic. The dramatic 
element of Pycorne and Chichevache, which was doubtless borrowed 
from a French mystery play,^ is also worthy of note. Certainly not 
the least excellence of the Assembly of Gods is its dramatic pictur- 
esqueness. It was this characteristic which Collier noted that he 
remarked "the story is very dramatic, and far less dull than most 
pieces of the kind" {An. of the St. p. 31). 

II. The Allegory of the Vices and Virtues. — In considering the 
central allegory of the Assembly of the Gods the reader is brought 
into relation with one of the great themes of literature, the almost 
universal subject of war, the war that proceeds within the soul — 

' It seems to be well established that the English masque, and the pageants, 
derived their popularity and meaning from the allegorical poems and plays. 
Dunbar's Dance of the Sins is a masque in form. The Dance of Death was a 
graveyard processional. 

' See Dodsley's Old Plays, XII. p. 302. 



Ixiv The Allegory of the Vices and Virtues. 

how man battles through trials and temptations to heaven's gate, 
how he falls oft but rises again, how he wins at length the victory over 
Sin and Death. This is in truth the dominant allegory of man. 
So universal, indeed, is the treatment in the literature of Christen- 
dom of the theme of man's salvation that the collected volumes of 
that literature may be said to constitute a veritable Epic of Penance. 
For note how often in great literatures, in the works of Dante, Lang- 
land, Chaucer, Spenser, Bunyan, Goethe, Tennyson and Browning, 
to name the greatest, the real content of life is described in the 
terms of pilgrimage and battle^ the life that in the Middle Age 
was in very fact a Crusade and a Tournament, an ascent up the Mount 
of Purgatory, that was in Reformation times a Pilgrim's Progress 
and a Holy War, that is still a " War of Sense with Soul," where the 
obligation never ceases to "Fight on, fare ever." The literature of 
this struggle, wherein not only the soul of man is involved but also 
the spiritual powers beyond our world, where Earth and Heaven and 
Hell are mingled in contest, constitutes in its entirety the most stu- 
pendous epic which the genius of man has conceived. 

In some form the subject is older than Christianity. War itself is 
a primitive theme. The heathen myths pictured the agents of nature 
as engaged in warfare, the healing and harmful forces, the Light and 
the Darkness, the Summer and the Winter, the sun-gods and the 
frost-giants. In one of the earliest of historic religions, Zoro- 
asterism, the idea of antagonism in the moral life occurs, the 
contest between the Prince of Light and the Prince of Darkness 
being figured upon the earthly sphere. On the spiritual side 
Plato's myth of the contending steeds is again a record of the primi- 
tive soul. Thus the necessity has been laid on man from the first 
of "working out the beast" and "letting the ape and tiger die." 
It is true that Christianity brought into greater prominence the 
need of warfare. "■ E stole fortes in bello et piignato cum antiquo 
serpente^'' — thus the Scriptures exhorted the Christian convert to 
the fearful battle against sin. Then when paganism came in 
contact with Christianity the terms of war and of military society 
were naturally applied to the new life and to the kingdom of 
Heaven. Christ was King. His apostles were thegns who went 
forth to the wars. With the spiritual conceptions of the new 
gospels was mingled the mythology which dealt with the war- 
fare of Nature. The conflict between Day and Night was trans- 
ferred to Christ and Satan, to Eternal Light and Eternal Darkness. 



The Allegory of the Vices and Virtues. Ixv 

Chivalr}', gathering from paganism all that was best in war, strength, 
prudence, courage, knightly honor, and from Christianity an ideal 
of spiritual perfection, now became the established principle of 
society, a society that received its personal ideal in the figure of 
King Arthur and its social ideal in the Order of the Round 
Table. 

While society itself was thus being organized in accordance with 
the ideal of militant Christianity, the severest of spiritual battles 
were being fought out within the cloisters of the monks. A severer 
morality was naturally exacted from the monks than from the ordi- 
nary Christian. It was then within the monasteries of the third and 
fourth centuries that the " Olympian battle with Sin " began. By 
Ambrose (340-397) and his pupil Augustine (354-430) the Platonic 
virtues called "cardinal," Wisdom, Justice, Fortitude, and Temper- 
ance, were resolved into Christian graces. To these were added the 
triad of theological virtues. Faith, Hope and Love. Against these 
seven were arrayed for the trial of the saints seven deadly sins. Pride, 
Avarice, Anger, Gluttony, Lust, with two others selected from Envy, 
Vain-glory, Tristitia or Accidia. An intense and concentrated 
struggle against human weakness was thus set on foot. On the basis 
of these sins a penitential system was devised, some form of pil- 
grimage up the mount of Purgatory. 

By the time that Dante wrote his Comedia the exactions of 
monastic virtue were enforced upon all the children of the Church 
and a penitential pilgrimage enjoined. In the Lifer/w a classifica- 
tion of the sins is given as found in the Siunnui Tlieologica of St. 
Thomas Aquinas, which is based upon the ethical principles of Aris- 
totle as interpreted, probably, bv Averrhoes. Sin, having been tri- 
umphant, is come to punishment in Hell according to what Dante 
calls the law of "contrapass " [retribution] {Inferno xxviii, 142.). 
But in Purgatory sin is not allowed to develop into act but appears 
as an inner incitement. It is shown, therefore, not as punishment 
but as recreation where struggle must enter, the will for holiness 
being victorious. 

"And I will sing that second realm instead, 
Wherein man's spirit frees itself from stain, 
And groweth worthy Heaven's high courts to tread." 

—Puvi:. 11. 4-6. 

For this purpose Dante emploved the popular penitential system 
of the Church which brought into prominence the necessity of dis- 



Ixvi The Allegory of the Vices and Virtues. 

cipline by struggle against sin in the pilgrimage of this world. Thus 
the various stairs of Penitence are named after the seven monastic 
moralities. 

When Dante is resting on the fourth terrace of Purgatory, 
Virgil explains to him the nature and relation to each other of 
the seven mortal sins. He is explaining the teachings of St. Augus- 
tine and considers sin with respect to its causes. Love is the 
common ground. Love perverted by selfishness and erring in its 
object is pride, envy and anger. Love remiss, defective in vigor, 
is sloth. Love excessive is avarice, gluttony and lust. (So earlier 
Augustine defined virtue as amor ordinatus, vice as amor uon ordi- 
natus {Civ. D. XV. 221). Sin is mortal because it attacks the 
conditions of spiritual life, preventing in society the exercise of 
love. Pride is the most deadly, nearest therefore to the state of 
hell, because it strikes directly at love and hinders to the utmost 
the soul's higher life. 

The current ethics of the church during the thirteenth and four- 
teenth centuries respecting the nature of the vices is also contained 
in a poem entitled Septem Peccata Mortalia, of doubtful authorship 
but ascribed by some (Witte, Krafft and others) to Dante. 

" In Pride the root of every sin doth lie ; 

Hence man himself doth hold in loftier fame 
Than others, and deserving lot more high. 
Envy is that which makes us blush for shame, 

With grief beholding others' happiness, 
Like him, whom we the face of God proclaim. 
Wrath still more woe doth on the wrathful press, 

For its fierce mood lights up hell's fiery heat; 
Then ill deeds come, and loss of holiness. 
Sloth looks with hate on every action meet, 

And to ill-doing ever turns the will, 
Is slow to work, and quick to make retreat. 
Then Avarice comes, through which the whole world still 

Vexes its soul, and breaks through every law, 
And tempts with gain to every deed of ill. 
Both fool and wise foul Gluttony doth draw, 

And he who pampers still his appetite. 
Shortens his life, to fill his greedy maw. 
And Lust that comes the seventh in order right, 

The bonds of friendship breaks and brotherhood. 
At variance still with Truth and Reason's light." 

— Trans, by Plumptre, II., p. 324. 



The Allegory of the Vices and Virtues. Ixvii 

In tracing now in literature thiis allegory of life we are led back 
to a favorite classic of the dark ages, the Psychomachia of Prudentius, 
the work of a Christian poet who flourished during the early part of 
the fifth century, who is best known to the modern world for his 
Hymns, repeated editions of which were issued during the fifteenth, 
sixteenth and seventeenth centuries. 

The Psychomachia^ (Migne, Patrol. Ser. L. Vol. 60), written in 
hexameters in ecclesiastical Latin, represents allegorically the con- 
flict between the vices and virtues for the soul of man. The poem 
is an expansion of an earlier work by the same writer entitled 
Hamartigc/iia (Migne, Patrol., Vol. 59, p. 1007) which is theological 
in character, an explanation of the origin of evil in refutation of 
the heresies of the day, notably that of Marcion, the dualist. The 
Psychomachia is an expansion of a portion of the Hamartigenia, 
where 'Anger, Superstition, Sadness, Strife and Luxury, war against 
the soul. The allegory in the later poem is carried out into great 
detail, being intended to represent the successive stages of Christian 
conflict amid the temptations of the world. A first struggle is neces- 
sary to overcome the worship of the pagan gods and to become a Chris- 
tian. The next conflicts occur between Chastity and Lust, and between 
Patience and Wrath, resulting in victory for the virtues. Pride then 
attacks Humility, Righteousness, Temperance, Fasting, Shame and 
Simplicity. But a pit is dug for Pride by Treachery and by Hope 
the vice is slain. Then comes the battle between Luxury, who is 
driven in a chariot by Love scattering flowers, and Temperance who 
bears the standard of the cross. These Desires having been 
vanquished Avarice with her train appears and attacks the Christian 
under the guise of Frugality, but Almsgiving rescues the soul. 
The last battle is with Heresy, who is slain, and the soul is at 
peace. 

For the popular theological confirmation of such a warfare one 
may turn to St. Augustine's City of God, the latter part of which was 
contemporary with the Psychomachia and written perhaps with the 
poem in mind. The 19th Book of tlie City of God r&vesXs the dis- 
cords between the heavenly and earthly cities and in the tenth 
chapter announcement is made of the rewards prepared for the 
saints: "There the virtues shall no longer be struggling against 
any vice or evil but shall enjoy the reward of victory, the eternal 
peace which no adversary shall disturb." 

'Cf. Hist. 0/ Latin Lit., G. A. Simcox, II., p. 360. 



Ixviii The Allegory of the Vices and Virtues. 

The Psycho7?iachia,^ sanctioned by the usages and doctrines of the 
church, became the model for a series of poems, generally moral 
and didactic in motive, called variously Bataille, Debat, Tournoie- 
ment, Disputoison and Pelerinage (v. Lit. Fr. an Aloyen Age, par 
Gaston Paris, pp. 158, 159, 169, 227, 228). Among the later works 
of this class are the Anticlaudianus (12th century) by Alanus; Debat 
du corps et d Fame (12th century); Toiirnoiement d' Antichrist (1235) 
by Huon de Meri, which contains the battle between the Vices and 
Virtues under the leadership of Antichrist and Christ respectively; 
Pelerinage de la vie humaine (1330-5), by Guil. De Deguilville, a 
favorite work in England and the prototype of Bunyan's Pilgrini's 
Progress; certain of the Bestiares which satirize the vices of the 
time, as the Renart le Noitvel (1288), by Jacquemart Gielee, the 
animals of which, attacking the holy castle Maupertius, fight like the 
seven deadly sins with which they are for the first time mixed ; 
episodes also found in the love poems, that series of Ars d'Amour 
which ended with the Roman de la Rose, as the battle for the rose 
in the Roman {Lit. Fr. G. Paris, p. 169). 

Typical of these mediaeval works that deal with the war of the 
vices and virtues is the Anticlaudianus, sive de Officio Viri Boni et 
Perfccti,'' one of the most important books of the period, and one 
familiar to Lydgate and his fellow monks. It was written by 
Alanus de Insulis, during the second half of the 12th century, to 
oppose an invective of Claudian against Rufinus, the prime minister 
of Theodosius the Great, who was represented as the embodiment of 
all that is vicious, having been perverted by all the passions of hell. 
The poem is well summarized by Mr. Steele in his edition of 
Lydgate's Secrees (note, p. 109) whose outline is here quoted. 

"Nature, perceiving its failure in bringing about perfection, 
decides to join in one being all the virtues and excellences possible. 
She therefore summons all these allegorical personages, and lays 

' The De Consolatione PhilosophicE by Boethius may be mentioned as one other 
source of the battle motif. A French version of a part of this work is found in a 
poem called De Fortune et de Feli ci te \\'\i\ch is said by Warton (II, p. 216) to be 
the source of the Tournoyement de I' Antichrist {c 1228) by Huon de Meri, which 
contains a combat of the Vices and Virtues ; this latter work was employed by 
Langland for the battle scene of the Antichrist at the close of Piers the Plowman 
vSkeat). Gaston Paris, however, thinks that most of these scenes of moral war- 
fare may be referred to the Psychomachia. 

-V. Migne, Patrol, t. 210, or Anglo-Lat. Satir. Poets, Roll's Series, ed. Wright. 
Cf. Lounsbury's Chaucer Studies, II, p. 348. 



The Allegory of the Vices a/id Virtues. Ixix 

before them her plan. Prudence (Phronesis) and Reason remark 
that none of them can give to man the highest of all gifts — a soul, 
and that they must ask it from God. This mission is imposed on 
them ; they at first refuse it, but Concord gets them to accept it. A 
car is made for them by the seven liberal arts, to which five horses 
representing the senses are yoked. Grammar lays the framework, 
Logic makes the axles of the wheels. Rhetoric adorns the frame with 
gems and flowers of silver, Arithmetic, Music, Geometry and 
Astronomy make the wheels, and Reason drives the chariot. 

"They pass through the air, the clouds, the home of the evil 
spirits of the air, the spheres of the planets, and arrive at the firma- 
ment, when Reason faints and the senses become useless. Theology 
appears, and on the condition that Reason and the senses — except 
that of hearing — are abandoned, offers to guide Phronesis. The 
firmament, the empyrean heavens, the dwellings of saints, angels, 
and the Mother of God are next described. Here Prudence faints, 
but Faith revives her, and explains the mysteries of human destiny, 
grace, etc. 

"God now orders Intelligence to frame a model of a soul such as 
was asked for, and making it, it is sent to Nature, who makes a body 
which Harmony, Music and Arithmetic fit for and join to the soul. 
All the allegorical divinities add a gift — even Nobility and Fortune 
bring theirs — which Wisdom checks and moderates. 

"But Hell learning of this new creation resolves to destroy it, 
and Allecto unites all the vices against it. After a long battle the 
new man puts them all to flight, and inaugurates upon the earth the 
reign of Justice and Happiness." 

The English books of Penance are many in number. Among 
the theological works in prose which treat in whole or in part the 
subject of the vices and virtues there are to be mentioned especially 
a Homily by ^Ifric (Thorpe's ed. yElfric Soc. H, p. 219), Old 
English Homilies (E. E. T. ed. Morris), the A/icre/i Riwle (Morton's 
ed. p. 198-204), Dan Michel's Ayenbitc of Inwyt (Morris' ed. p. 16), 
Vices and Virtues (E. E. T. ed. Holthausen), Dan John Gavtrvge's 
Sermon on Shrift and the Mirrour of St. Edmund {Relig. P. ed. 
Perry, p. i, 15), a sermon bv Wyclif (Works ed. by Arnold IH., p. 
225) and Chaucer's Persones Tale. Among the religions pieces in 
verse which treat the theme are Aldhelm's De Ocfo Principalibus 
Vitiis (in Latin, Migne, Patrol. Ser. Lat. S9, p. 282), the book of 
Penance added to the Cursor Mundi (E. E. T. i)t. V., p. 1524 



Ixx The Allegory of the Vices and Virtues. 

et seg.), verses in Religious Pieces and in Political Religious and Love 
Poems (E. E. T. ed. Furnivall, p. 215), the Manuel of Sins, translated 
from a work by Bishop Grosseteste by Robert Mannyng, tracts in 
the Vernon MS. (ed. Horstmann, E. E. T.) entitled How to Live 
Perfectly No. XXXII.) and The Spur of Love (No. XXXV.), being 
translations from the popular Speculum of Edmund Rich, in the 
same MS. the Dispute Between a Good Man and the Devil (No. 
XXXVII.), The Mirrour of the Periods of Man's Life m Llymns to 
the Virgin and Christ (E. E. T. ed. Furnivall, p. 58), and a poem 
by William de Shoreham entitled De Septem Mortalibus Peccatis 
(Percy Soc, Vol. 28, p. 102), etc. 

These treatises set forth the common theory of ethics as taught 
by the Latin Church. In classification and definition of the principal 
vices and virtues the works generally accord. There is occasional 
difference in the number, in the order of mention of the cardinals 
and in the names and number of the "branches" which spring 
from the parent stems. 

The English Benedictine monks, following the older continental 
system, enumerate eight principal vices and virtues. ^Ifric (Horn, 
ed. Thorpe, Vol. II, p. 219) sets in opposition, on the one hand the 
vices gifernys (greediness), galnyss (lust), gitsung (covetousness), 
weamet (anger) unrotnys (discontent), asolcennys odd^ semelnys 
(sloth or aversion), idel gylp (vain-glory), and modignys (pride) ; 
on the other hand the healing virtues gemetegung (moderation), 
claennys (chastity), cystignys (bounty) gedyld (patience), gastlicer 
blis (ghostly joy), anrsednys (steadfastness), lufe (love) and 
eadmodnys (humility). 

In the mediaeval treatises the number of each class is regularly 
seven. The classification in the Parable of the Castle of Love in 
\\\& Cursor Mundi (^\. 10040-10052) is the following: pride, envie, 
glotony, lust, gredines, wreth, hevynes, with the corresponding 
virtues, buxumnes, charite, abstinens, chastite, liberality, mekenes, 
and gostly gladnes. In the Cursor Mundfs Book of Penance the 
list is : pride, envy, wra/, slau^e, couatyse, glotori and drunkenhede, 
lichery ; and mekeness, loue, thalmodenes, gastely ioy, lele of hert 
and fre of gyft, abstinence and sobirte, chastite. 

The Ayenbite of Lnwyt has in one place (p. 16 and 123) prede, 
envye, wrepe, sleauy5e, icinge (avarice) couaytise, glotounye, lecherie ; 
and for virtues the Pauline triad of beleave, hope and charite, and 
the cardinals of the "yealde philosofes" sley^e (prudence) temper- 



The Allegory of the Vices and Virtues. Ixxi 

ance, strengyJe, and dom (justice); in another place (p. 159) 
prede, enuye, felhede (hate), slacnes, scarsnes, lecherie, glotounye 
and boysamnes (humility) loue, mildenes, proues, larges, chastete, 
sobrete. 

In the Mirroiir of St. EdmiDid occur pryde, envy, ire, slouth, 
couetyse, glotony, lechery ; and wysdom, vndirstandynge, consaile, 
stalworthenes, cunnynge, pete, drede of Godde, four of which are 
said to be needful for the active life and three for the contempla- 
tive life. Dan Jon Gaytryge's sermon recounts the regular vices 
and for virtues, trouthe,hope and charyte, the theological virtues, and 
ryghtwysenes, sleghte (prudence), strenghe, and methe (temper- 
ance), the natural virtues. The Latin titles occur in Gyf me 
Lysens to Lyve in Ease {Pol., Rcl., and Love P. E. E. T. ed. Furn- 
ivall p. 215) superbia, invidia, ira, avoryssia, accidia, gula, luxuria, 
with the corresponding umylitas, carytas, amor cum paciencia, vigi- 
late et orate, elymosina, abstinaunce, chastite. In the tract How to 
Live Perfectly (Vernon MS. E. E. T. No. 32) the remedies for sin 
are the Seven Blessings of the Gospel and the medicine for the sins 
are Wisdom, Understanding, Strength, Counsel, Wit, Pity, Fear of 
God. 

Chaucer's list in the Personcs Talc is pride, envye, ire, accidie, 
avarice, glotenye, leccherie ; and humilite, love, mansuetude and 
pacience, strengthe, misericorde and pite, abstinence, and chastite. 
Gower employs the same classification in his Confessio Amantis. 

The most original treatise on the theme is perhaps Wyclif's tract 
on the Seven Deadly Sins {Works, ed. Arnold III, p. 119). The 
cardinals are th-e conventional ones but the condemnation of the 
practical sins of the clergy and people is from the Lollard point of 
view. The sins have this origin : " /e fende, and po worlde, and 
monnis owne flesche, stiren hym to couyte ageynes God's wille. And 
so ich one takes at other, and /ese make seven. Pride, envye, and 
wrath ben syilnes of po fende ; wrathe, slouthe, and avarice ben 
synnes of po. world ; avarice, and glotenye, and po synne of 
lechorye ben synnes of po fiesche" (p. 121). These are thus 
defined: "Pride is wicked liif of a monnis hyenesse ; " " Envye is 
unordvnel wille of mon to his neghtbore ; " "Wrathe is unskillful 
wille of vengeaunce;" Slouthe is "slouthe in God's service;" Cov- 
etise is "avarice of worldly godis;" "Glutonye falles y5en to mon, 
when he takes mete or drink more /en profites to his soule ; " 
"Lechorve stondis in /is /ing, /a^ "^o'"^ raysusis lymes or powers of 



Ixxii The Allegory of the Vices and Virtues. 

his body, /at God haves ordeyned unto men for his kyndely gen- 
drure" (p. 121 ct seq). 

In the more imaginative treatises various mystical and allegorical 
features appear. Chaucer's Parson pictures the life of God's chosen 
as a pathway filled with stumbling blocks. In the Mirrour of the 
Periods of Man' s Life a man is tempted from birth to age. In Gyf 
me Lysens to Lyve in Ease the sins are as wounds to be healed by 
medicines in the form of plasters and herbs, the remedial virtues. 
In Piers the Plowman the sins are the muck with which Haukyn, the 
active man, has soiled his coat (Pas. xiii). Often sin is described 
as a tree with branches and twigs as in the Ayenl>ite of Iinvyt. When 
personified the sins may come as warriors in armor on horse or a 
foot, as in the Parable of the Castle of Love in the Cursor Mundi, or 
as in Lydgate's Assembly of Gods, Spenser's Faery Queene, Fletcher's 
Purple Island and Bunyon's Holy War. 'In the moral play, 
The World and the Child, the vices are exhibited as seven kings. 
Chaucer in the "ABC" laments that he is chased by "theves 
seven." Dunbar pictures the sins as dancers down in hell. Gower 
assigns the vices to a lover. Langland describes the virtues as 
"sisters," Pride alone among the vices being personified as a woman. 
Dan Michel declares Pride to be the devil's own daughter. In the 
Sawles Warde the cardinal virtues are the daughters of the lord of 
the house. In the Ancren Riwle each sin is symbolized by an ani- 
mal : Pride by a Lion, Envy by an Adder, Wrath by a Unicorn, 
Lechery by a Scorpion, Avarice by a Fox, Gluttony by a Sow, 
Sloth by a Bear. The Aycnbite of Inwyt presents most mystical 
features : St. John in a vision saw a beast come out of the sea having 
a leopard's body, a bear's feet, a lion's throat, and it had seven 
heads and ten horns. This beast, explains Michel, betokeneth the 
devil who cometh from the sea of hell ; its guile is denoted by the 
leopard's spots, his strength by the bear's feet, his cruelty by the 
lion's throat. The seven heads are the seven deadly sins and the 
ten horns the guilts of the commandments. 

Without exception these writings accord in assigning to Pride 
the first place among the sins. Pride, said ^Ifric, is '•' ord and ende 
selces yfeles : se geworhte englas to deoflum and ^Icre synne anginn 
is modignys." Pride in the Cursor il/>///^/ is the chief sin that fights 
against Love : it is said that Lucifer fell by pride, that it is fouler than 
any devil in hell. The Ayenbite of Inwyt pictures Pride as the devil's 
own daughter, the sin of Lucifer and the angels, the first to assail 



The Allegory of the Vices and Virtues. Ixxiii 

our Lord and the last to abandon Him. In Gyf me Lysens to Lyve 
in Ease, Pride is the first wound "more bytter than ever was gall." 
By Wyclif Pride is considered to be the chief sin, being accorded to 
the Fiend. Said Gower "Pride is the heaved of all sinne" (I, p. 
153). Barclay, at the beginning of the period of the Reformation, 
wrote of Pride that it is 

" A vyce so moche abhomynable 
That it surmountyth without any fable 
All other vyces in furour and vylenes 
And of all synne is it rote and mavstres. " 

— Ship of Fools, 11, p. 159. 

So Pride leads the dance of the sins in hell in Dunbar's poem. It 
was the first to receive punishment in the ShephearcT s Kalendar. It 
cast Satan and the rebel angels out from heaven in Milton's 
Paradise Lost. With Shakespeare it appears as ambition : 

" By that sin fell the angels." Heni-y VIII, III, 2, 441. 

The consensus of mankind seems then to be written by Sir Thomas 
Browne that Pride is "the first and father sin, not only of man but 
of the devil ; a vice whose name is comprehended in a monosyllable, 
but in its nature not circumscribed with a world (Works, II, 

P- 435)- 

Turning from the theological treatises on the moralities, and 
taking up the works of real artistic value wherein the imagination of 
writers was trulv kindled by a perception of the poetic capacities of 
the theme of battle and pilgrimage, we enter a most important field, 
perhaps to be called, when considering the actual epical and dramatic 
development of the theme, the most important field in early English 
literature. The many chivalric Romances would be included in the 
survev, perhaps also the earlier Giithlac. With a more specific 
treatment is the long series beginning with Bishop Grosseteste's 
Chateau d'amour, which received several translations at the hands 
of later writers, continuing in the parable of the Castle of Love in 
the Cursor Mundi, the English Bestiares, the Moral-plays, Langland's 
Piers the Plowman, Gower's Confessio Amantis, perhaps the Romaunt of 
the Rose, Lydgate's Assetnbly of Gods, Hawes's Pastime of Pleasure, 
Dunbar's Z>a;/(r(? of the Sins, Barclay's Shi/> of Pools and Mirrour of 
Good Manners, the anonymous Shepheards Kalendar, religious pieces 
of the type of the Mirrour of the Periods of Alan's Life, Spenser's 
Faery Queene, John Day's Peregrinatio Scholastica, Bernard's Lsle of 
Man, and, last of these stirring allegories, Fletcher's Purple Lsland 



Ixxiv The Allegory of the Vices and Virtues. 

(1633), and Bunyan's Pilgrinis Progress (167S) and Holy War 
(1682). 

In almost the earliest teaching on the subject of sin, in y^lfric's 
Homily on Midlent Sunday (ed. Thorpe, II, 212) the Christian life 
is described as a warfare. In the homilies the word commonly used 
for Virtues was mihtan [Old-Eng. Horn. I, p. 105), it being explained 
that by God's help, if fight were keen, the devilish sins would be 
overcome (p. 107)/ The Psychomachia of Prudentius was known to 
the English monks as it is referred to by Beda in his De Ratione 
Metrica as the book " quem de virtutum vitiorumque pugna heroico 
carmine composuit." There is an echo of its triumph in Guthlac 
where the hero meets in deadly combat with Satan and his troops of 
sin-smiths that roar and rage like wild beasts. In the manner of 
the Psychomachia Aldhelm wrote in Latin his De Octo Priucipalibus 
Vitiis "(Migne, Patrol. Lat. Ser., 89, p. 282) arraying the opposing 
forces in battle form. 

For this warfare man was given the gift of Power. This is 
a Virtue described by Dan Michel {Ayenbite of Inwyt, p. 169) as 
a tree with seven boughs which betokened the seven battles that 
the Christian must wage. This Christian battle is again likened by 
Michel to the gladiatorial fights at Rome, wherein those who desired 
fame must overcome all who are sent against them by the master of the 
field ; the holy Christ is the master who suffers no one to be tried above 
his strength. Bishop Grosseteste, employing the chivalric idea, figures 
Love as a strong castle standing high on a polished rock. The castle 
is enclosed by four stone walls and a deep moat, and fortified 
with four towers and seven barbicans. A clear, all healing well 
springs from the central tower. Within the tower is a brilliant 
throne. Being interpreted, the castle is a shield to the human soul. 
The rock is Mary's heart. The four towers are the cardinal Virtues, 
Strength, Skill, Rightfulness, and Temperance. The seven barbicans 
are the seven virtues that receive the attacks of the deadly sins. The 
well is Mary's mercy. The throne is Christ. This figuration, so 
beautiful in its symbolism, caught the. fancy of succeeding writers. 
The castle betokens refuge and strength and victory. As a symbol 
of the Virgin Mary it is employed in the Cursor Muiidi, in the 
Abbaye of Saynte Spirite {Relig. Pieces, ed. Perry, E. E. T. p. 49) in 
a miracle play entitled Originate de Sancta Maria Magdalena (v. 
Collier, ^/i-/. Dr. P. II, p. 153-6) and in Lydgate's Life of St. Mary. 

'Virtue is also called tliewe in Gaytryge's Sermoti, p. 10. 



The Allegory of the Vices and Virtues. Ixxv 

In Langland's vision tlie tower on the toft, partly drawn from 
Grosseteste's Chateau d' amour, is the abode of Truth or God the Father 
(v. Prol. 1. 14; Pass. v. 11. 594 et seq). Grace is the doorward there 
and seven sisters the porters of the posterns, Abstenence, Humilite, 
Charite, Chestite, Pacience, Pees, and Largenesse. Mercy, or the 
Virgin Mary, mediates between the sinful ones at the gates and 
Christ and the Father. The chief battle in Langland's poem is that 
waged against the church of Unity (Pass, xx) by Antichrist and 
seven giants. Sloth and Avarice lead the assault. Peace bars the 
gates. But the virtues sleep and Conscience is forced to become a 
pilgrim over the world, seeking the Plowman. In a 13th century 
homily, Sawles Warde, man is represented as a castle inhabited by 
Wit, his wife Will, five servants, the five senses, and four daughters, the 
cardinal virtues. 

Among the Moral-plays the Castle of Perseverance well illustrates 
the prevailing conception. The play was performed during the 
reign of Henry VI., but it is thought from its completeness that it 
must have had predecessors of the same kind (Collier, Hist. Dr. 
P., II. p. 200 ei scq.). Humanum Genus has been conducted by 
Good Angels to the Castle of Perseverance, which is under the ward- 
ship of the Seven Virtues. The Seven Deadly Sins attack the castle 
but are repulsed by the Virtues, being made " blak and bio" by the 
beating of roses which Charity and Patience fling from the walls. 
"Drery Death" alone has power over Humanum Genus whose soul 
is at last saved by the grace of Deity. 

The later development of the theme needs only to be mentioned 
here. The Faery Quecue was a natural evolution of the mediaeval 
chivalric idea. Though the theological dogmatism is abandoned 
mankind is yet in the wilderness of this world, beset by sins on 
every side. In Book II. there is set forth the struggle of the Soul 
against its enemies. In Mammon's Cave the World is overcome. 
Arthur prevails against the Devil in the person of Maleger, the 
captain of the vices. Guyon, in the bower of Acrasia, resists the 
temptations of the Flesh. The ninth canto shadows forth the 
struggle of the Soul within the body. Milton and Bunyan picture 
the redemptive system from the Protestant point of view. For the 
^x%\.\!\m.t.\x\.y[\\\.o\\'% Paradise Regained \.\\t. struggle is pictured as 
being withdrawn within the self — this is the beginning of the 
modern treatment of the theme. But Bunyan writes directly in 
the manner of the "old fables" that dealt with " Mansoul's wars." 



Ixxvi TJic Allegory of tJic ]'iccs ami Tirtiws. 

One of the last of these niicrocosmic encounters and the most 
ingenious and involved of all, is the Purple Isla/id, published in 
1633 bv the poet Fletcher, who is called bv Francis Ouarles *' the 
Spenser of this age." The Purple Island is Man. Its prince is 
Intellect. The Senses constitute a pentarchy. Cosmos captains 
the rout of Vices that attack the Island. The Virtues defend and 
conquer (v. cantos vii-viii, ix-x, xi-xii). 

Considering the possibilities of Lvdgate's theme it is to be regret- 
ted that he did not grapple with it more successfully. His work 
exhibits intelligence, some degree of imagination, but is devoid of 
passion and cesthetic apprehension. He marshaled numberless 
hosts, his design was so comprehensive as to include the u[)per 
firmament, the lowest hell, and the earth and man, yet the Asse>n/>ly 
of Goi/s is almost the least of the poems attempting to portray the 
Holy War. 



THE ASSEMBLY OF GODS. 



By Don John Lyugate. 



*Here foloweth the Intrrpretacion of the names of goddys & 
goddesses as ys rehersyd in ph tretyse folowy//g as poet^j' wryte : 



Goddesse of Come. 
God of Loue. 
Goddes of Wysdom. 
h& variaunt Goddesse. 
God of Shepard(?j. 
Goddesse of Frute. 
God of the See. 
Goddesse of Batayll, or of 

Harueyst. 
God of Wyne. 
: God of Langage. 
Goddesse of Loue. 
Goddesse of Debate and 

Stryfe. 
Dethe. 



Phebus: 


ys as moche to sey as he Sonne. 


Ceres: 


AroLLO: 


ys the same or ellys God of 


CupiDO: 




Lyght. 


Othea: 


Morpheus: 


: Shewer of Dremes. 


Fortune: 


Pluto : 


God of Hell. 


Pan: 


Mynos : 


luge of Hell. 


IsyS: 


Cerberus: 


Porter of Hell. 


Neptunus: 


EoLUS : 


y5e Wynde or God of he Eyre. 


MYNif/euE: 


Diana: 


Goddesse of Woode & Chace. 




Phebe: 


he Mone or Goddes of Walyrw. 


Bachus: 


Aurora : 


Goddes of pe Morow or the 


MiG'^CURIUS 




Spryng of the Day. 


Venus: 


Mars: 


God of Batayll. 


DiSCORDE: 


Iubyter : 


God of Wysdom. 




Iuno: 


Goddesse of Rychesse. 


Attropos : 


Saturn e: 


God of Colde. 





Whan Phebus in the Crabbe had nere hys cours ronne 

And toward the leon his iourne gan take, 
To loke on Pictagoras speere I had begonne, 
Syttyng all solytary alone besyde a lake, 
Musyng on a man^r how that I myght make 
Reason & Sensualyte in oon to acorde; 
But I cowde nat bryng about that monacorde. 7 

* Omitted in B. C follows the Camb. M S., closing : Here endyth the Interpretac/on of the 
naraes of Goddis and Goddesses as is rehercyd in thys treatyse folowynge. 



When Phebus 
had nearly run 
his course in 
the Crab, alone 
beside a lake, 
I was musing 
how I might 
make Reason 
and Sensuality 
to accord. 



The Journey to Hell. 



In heaviness 
I fell asleep. 



Morpheus 
enters and 
takes me by 
the sleeve, 



bidding me 
arise and 
attend the 
Court of 
Minos. 



I obey and 
go with him 
towards the 
parliament of 
Pluto and 
Minos. 



On the way I 

ask him his 

name. He 

replies, 

" Morpheus." 

"Where do you 
dwell?" He 
answers, "in 
Fantasy." 



Having arrived 
in Hell, 
Cerberus, the 
porter, brings 
thither Eolus 
in chains, 
charged by 
Neptune and 
Diana with 
traitorous 
action. 



For long er I myght, slepe me gan oppresse 8 

So ponderously, I cowde make noon obstacle, 
In myne heede was fall suche an heuynesse, 

I was fayne to drawe to myn habytacle, 1 1 

To rowne w/t/^ a pylow me semyd best tryacle, 
So leyde I me downe my dyssese to releue. 
Anone came in Morpheus & toke me by the sleue. 14 

3 
And as I so lay half in a traunse, 15 

Twene slepyng and wakyng he bad me aryse. 
For he seyde I must yeue attendaunse 

To the gret Court of Mynos, the iustyse. 18 

Me nought auaylyd ayene hym to sylogyse ; 
For hit ys oft seyde by hem that yet lyues 
He must nedys go that the deuell dryues. 21 

4 
When I sy no bettyr but I must go 22 

I seyde I was redy at hys co;;miaundment, 
Whedyr that he wold me leede to or fro. 

So vp I aroose and forthe w/tA hym went, 25 

Tyll he had me brought to the pfl-rlyament, 
Where Pluto sate and kept hys estate. 
And w'ixh hym Mynos, the luge desperate. 28 

5 
But as we thedyrward went by the way, 29 

I hym besought hys name me to tell. 
"Morpheus," he seyde, "thow me call may." 

"A syr," seyd I, "than where do ye dwell, 32 

In heuen or in erthe outher elles in hell ?" 

"Nay," he seyde, " myii abydyng most comonly 
Ys in a lytyll corner callyd Fantasy." 35 

6 
And as sone as he these wordys had sayd, 36 

Cerberus, the porter of hell, w/t/z hys cheyne 
Brought theder Eolus in raggys euyll arayd, 

Agayn whom Neptunus and Diana dyd cowpleyne 39 
Seying thus, " O Mynos, thow luge souereyne, 
Yeue thy cruell iugement ageyn thys traytoz<'^ soo 
That we may haue cause to preyse thy lord Pluto." 42 



/// the Court of Minos. 



Then was there made a proclamasion, 43 

In Plutoys name cowmaundyd silence 
Vppon the peyne of strayte correccion, 

That Diana and Neptun/i'j- myght haue audience 46 
To declare her greefe of the gret offence 

To theym done by Eolus, wheron they compleynyd. 
And to begyfi Diana was constreynyd. 49 

8 
Whyche thus began as ye shall here 50 

Seying in thys wyse, " O thow lord Pluto, 
W/t/i thy luge Mynos, syttyng w/t/^ the in fere, 

Execute your fury vppon Eolus so 53 

Accordyng to the offence that he to me hath do, 
That I haue no cause forther to apele, 
Whiche yef I do shall nat be for your wele. 56 

9 
" Remembre furst howe I a goddesse pure 57 

Ouer all desertys, forestes and chases, 
Haue take the guydyng and vndyr my cure. 

Thys traytow;- Eolus, hath many of my places 60 

Dystroyed w/t/^ hys blastes and dayly me manaces. 
Where any wood ys he shall make hyt pleyn 
Yef he to hys lyberte may resorte ayeyfi. 63 

10 
"The grettest trees that any man may fynde 64 

In forest to shade the deere for her comfort. 
He breketh hem asondre or rendeth hem roote & rynde 
Out of the erthe — thys ys hys dysport, 67 

So that the deere shall haue no resort 
\V/t//yn short tyme to no man<^'r shade ; 
Wher thorough the game ys lykly to fade. 70 

1 1 
"Whyche to my name a reproche syngler 71 

Shuld be for eu^^r whyle the world last. 
And to all the godd^j- an hygh dyspleser 

To see the game so dystroyed by hys blast; 74 

WHierfore a remedy puruey in hast. 

And let hym be punysshyd aftyr hys offence. 
Consyder the cryme and yeue your sentence." 77 



Silence is 
proclaimed by 
Pluto that 
Neptune and 
Diana may 
declare their 
grievance. 



Diana, first, 
begins to 
speak, 



demanding 
from Minos 
the execution 
of fury upon 
Eolus, 



the traitor, who 
had destroyed 
her forests, 



breaking and 
uprooting the 
trees, where- 
fore the deer 
are without 
shelter. 



This brings 
reproach to 
Diana and dis- 
pleasure to all 
the gods, and 
requires 
punishment. 



The Complaint against Eolus. 



Neptune next 
rehearses his 
complaint to 
Minos. 



For himself 
he claims 
jurisdiction 
over the sea, 



but Eolus 
causes him to 
turn against 
his course, 



and ebb and 
flow out of his 
season. 



And when thus Diana had made her compleynt 78 

To Mynos, the luge, in Phitoys p;'rsence, 
Came forthe Neptun/zj-, wiih vysage pale & feynt, 

Desyryng of fauo///' to haue audyence, 81 

Saying thus, " Pluto to thy magnyfycence 
I shall reherse what thys creature 
Eolus hath doon to me out of mesure. 84 

"Thow knowest well that I haue the charge 85 

Ouer all the see, and therof god I am, 
No shyp may sayle. keruell, boot ner barge, 

Gret karyk, nor hulke w'iih any lyuyng man, Z% 

But yef he haue my safe condyte than. 

Who me offendeth w/t//yn my iurysdiccion 

Oweth to submvt hym to my correccion. 91 

14 
" But in as mekyll as hit ys now soo 92 

That ye hym here haue as your prysonere, 
I shall yow shew my compleynt loo, 

Wherfore I pray yow that ye woll hit here, 95 

And let hym nat escape out of your daungere, 
Tyll he haue made full seethe and recompence 
For hurt of my name thorough thys gret offence. 98 

15 
" Furst, to begynne, thys Eolus hath oft 99 

Made me to retourne my course agayfi nature 
W^■t/^ hys gret blastys, when he hath be a loft. 

And chargyd me to labour ferre out of mesure, 102 
That hit was gret merueyle how I myght endure. 
The [foom] of my swet, wyll hit testyfy, 
That on the see bankes lythe betyn full hy. 105 

16 
"Secundly, where as my nature ys 106 

Bothe to ebbe and fiowe and so my course to kepe, 
Oft of myii entent hath he made me mys. 

Where as I shuld haue fyllyd dykes depe 109 

At a full watyr I might nat thedyf crepe 
Before my seson came to retorne ayeyne. 
And then went I fastyr than I wold certeyne. 1 1 2 



/// the Court of Minos. 



17 
"Thus he hath me dryuen ayen myn entent 113 

And contrary to my course naturall. 
Where I shuld haue be he made me be absent 

To my gret dyshonour, & in especiall • 116 

00 thyng he vsyd that worst was of all, 
For where as I my sauegard grauntyd, 

Ay in that cost he comonly hauntyd. 119 

18 
"Of v^rrey pure malyce and of sylfe wyll, 120 

Theym to dystroy in dyspyte of me 
To whom I promysyd, bothe in good and yll, 

To be her protectour in adu<';-syte, 123 

That to theym shuld fall opon the see, 
And euyn sodenly, er they coude beware, 
W/t/i a sodeyn pyry, he lappyd hem in care. 126 

"And. full oft sythe vv/t// hys boystous blast, 127 

Er they myghtbeware he drofe \\ym on the sande. 
And other whyle he brak top seyle and mast, 

Whyche causyd they;;^ toperysshe er they came to lande. 
Then cursyd they the tyme that eu^/- they me fande. 
Thus among the pepyll lost ys my name 
And so by hys laboz^r put I am to shame. 133 

20 
" Consydre thys mater and ponder my cause; 134 

Tendre my co»/pleynt as rygouf requyreth ; 
Shew forthe your sentence w/t/i a breef clause. 

1 may nat long tary, the tyme fast expyreth, 137 
The offence ys gret, wherfore hyt desyreth 

The more greuous peyne and hasty iugement. 
For offence doofi wylfully woll noon auysment." 140 
21 
And, when the god Pluto awhyle had \\ym bethought, 141 

He rownyd w/t/; Mynos to know what was to do. 
Then he seyd opynly, " Loke thow fayle nought 

Thv sentence to yeue w/t/^out favo///- so, 144 

Lyke as thow hast herde the causys meuyd the to ; 
And so euenly dele twene these partyes tweyn, 
That noon of hem haue cause on the other cowpleyfi." 



This Eolus had 
done to his dis- 
honour. 



Out of very 
malice Eolus 
destroyed those 
to whom he had 
granted protec- 
tion, 



or else brought 
them to wreck; 
wherefore his 
name is held in 
dishonor. 



The great of- 
fense requiresa 
grievous pun- 
ishment. 



Pluto advises 
Minos to judge 
fairly between 
the parties. 



6 Invitation of Apollo. 

22 

Minos asks for Then scyd Mynos full indyfferently, 148 

further o at , ^r , 

charges, lo Dyaiic & Ncptuii/^j, " Ys ther any more 

That ye vvyll declare agayn hym opynly?" 

"Nay in dede," they seyde,"vve kepe noon in store. 151 
We haue seyde ynough to punysshe hym sore. 
Yef ye in thys matyr be nat parciall, 
Remembre your name was wont to be egall." 154 

ishesto "^^^'^ then," seyd Mynos, "now let vs here 155 

hear what What thys boystous Eolus for hywself can sev, 

Eolus can say j j j j j 

forhimseif. Yov here, pr/ma facie, to vs he doth apere 

That he hath offendyd — no man can sey nay. 158 

Wherfore thow Eolus, w/t/iout more delay. 
Shape vs an answer to thyne accusement. 
And ellys 1 most p/'(?cede opon thy iugement." 161 
24 
And euyn as Eolus was onwarde to haue seyde 162 

^nt^fslrom" ^ ^v hys cxcuse, came yn a messynger 

^rgods"to'I"^ Fro god Apollo to Pluto^ and hym prayde 
banquet and On hys behalfe that he w/i//out daungcrc 165 

Wold to hym come & bryng with hym [in] feere 
Diane & Neptun/zj- on to hys banket; 
And yef they dysdeynyd hywsylf he wold hem fet. 168 
25 
requests the Moreou^'/' he sevde to the god, Apollo 169 

suspension of ' r i • 

judgment upon Dcsyryd to hauc respyte of the iugement 

Eolus, if Diana „. „ , , , ^ ,, o t-.i 

and Neptune Of Eolus, bothe of Mynos & Pluto. 

should be or-. i -^t , _ • 7 

therewith bo Dyaue and Neptunus were therw/t// content, 172 

content. » i r i i i 

And yef they were dysposyd to assent 
That he myght come vnto hys p;rsence, 
He hit desyryd to know hys offence. 175 

26 
"What sey ye herto," seyd Pluto to hem tweyn, 176 

l^TSoTdt "Wyll ye bothe assent that hit shall be thus ?" 

missed. "Ye," seyde the goddesse, "for my part certeyn." 

"And I also," seyde thys Neptunus. 179 

"I am well plesvd," quod thys Eolus. 

And when they had a whyle thus togedyr spoke, 
Pluto co;/niiaundyd the court to be broke. 182 



To Apollo's Palace. 



27 
And then togedyr went they in fere, 183 

Pluto & Neptunz^j- ledyng the goddesse, 
Whom folowyd Cerberus w/t/? hys prysonere. 

And alther last w/t/z gret heuynesse 186 

Came I & Morpheus to the forteresse 
Of the god Apollo vnto hys banket, 
Where many goddys & goddesses met. 189 

28 
When Apollo sye that they were come, 190 

He was ryght glad and prayed hem to syt. 
"Nay," seyd Diane, "thys ys all and some. 

Ye shall me pardone, I shall nat syt yet. 193 

I shall fyrst know why Eolus abyte 

And what execucion shall on hym be do 
For hys offence." "Well," seyd Apollo, 196 

29 
"Madame, ye shall haue all your plesere, 197 

Syth that hit woll none other wyse be. 
But furst I yow pray let me the mater here. 

Why he ys brought in thys p^rplexyte." 200 

"Well," seyde Pluto, "that shall ye sone se." 
And gan to declare euen by and by 
Bothe her compleyntes ordynatly. 203 

30 
And when Apollo had herd the report 204 

Of Pluto, in a man^r smylyng he seyde, 
"I see well, Eolus, thow hast small comfort 

Thy sylf to excuse; thow mayst be dysmayde 207 

To here so gret compleyntirj- ayene the layde. 
That natw/t//standyng, yef thow can sey ought 
For thyne owne wele, sey and tary nought." 210 

31 
"Forsothe," seyd Eolus, "yef I had respyte, 211 

Her to an answere cowde I counterfete. 
But to haue her grace more ys my delyte. 

Wherfore, I pray you all for me entrete, 214 

That I may, by your request, her good grace gete. 
And what pyne or greef ye for me prouyde, 
W/t/iout any grogyng I shall hit abyde." 217 



Pluto, Nep- 
tune and 
Diana, Cer- 
berus and 
Eolus, Mor- 
pheus and I, 
come to the 
palace of 
Apollo, where 
many gods 
and goddesses 
are met. 



Apollo wel- 
comes them 
with gladness. 



Diana refuses 
to sit until 
judgment is 
pronounced on 
Eolus. 



Pluto recounts 
the complaints 
against Eolus, 



who is 
requested to 
give his 
excuses. 



Eolus speaks 
suing for the 
grace of 
Diana. 



The Complaint Dismissed. 



Apollo pleads 
for Eolus that 
the goddess 
show pity, on 
account of his 
great sorrow, 



and assures 
her if she for- 
give Eolus and 
he afterwards 
rebel that for 
every tree 
destroyed a 
hundred shall 
grow 



for the pro- 
tection of 
game. 



Diana grants 
release. 



For Neptune's 
case Phebe is 
accepted as 
arbiter. 



Apollo prays 
the gods and 
goddesses to 
fall to the 
banquet. 

Athena 
requests that 
due order be 
preserved. 



32 

"Lo, good Madame," seyd god Apollo, 218 

"What may he do more but sew to yo//r grace. 
Beholde how the teares from hys eyen go. 

Hit ys satysfaccion half for hys trespase. 221 

Now gloryous goddesse shewe your pyteous face 
To thys poore pryson^'r at my request. 
All we for your honour thynke thus ys best. 224 

33 
"And yef hit lyke yow to do in thys wyse, 225 

And to foryeue hym clerely hys offense, 
Ooii thyng suerly I will yow promyse, 

Yef he eft rebelle and make resystence 228 

Or dysobey vnto your sentence, 
For eu^;-y tree that he maketh fall, 
Out of the erthe an hundred aryse shall. 231 

34 
"So that your game shall nat dyscres,^ 232 

For lak of shade, I dar vnu_ ke." 
"Well, syr Apollo," seyde she than, "woll I cese 

Of all my ranco//r and mery w/t/^ yow make." 235 

And then god Neptunz/.y of hys mater spake. 

Saying thus, "Apollo, though Diana hym relese. 
Yet shall he su to me to haue hys pese." 238 

35 
"A," seyde Apollo, "ye wend I had foryete 239 

Yow for my lady Diane, the goddesse. 
Nay, thynke nat so, for I woll yow entrete 

As well as hyr w/t//out long processe. 242 

Wyll ye agre that Pheb[e] your mastresse 
May haue the guydyng of your varyaunce?" 
"I shall abyde," quod he, "her ordynaunce." 245 

36 
"Well then," quod Apollo, "I pray you goddi?^' all, 246 

And goddesses eke, that be heere p/rsent. 
That ye compaygnably wyll aboorde fall." 

"Nay then," seyde Othea, "hit ys nat conuenyent, 249 
A dew ordre in t-ViCry place ys expedyent 
To be had, wherfore ye may nat let 
To be your ow.ne marchall at your owne banket. "252 



Assembly of the Gods. 



37 



And when Apollo sy hit wold noon other be, 253 

He callyd to hym Aurora, the goddesse. 
And seyde, " Thowgh ye wepe yet shal ye before me 
Ay kepe your course & put your sylf in [presse]." 256 
So he her set furst at hys owne messe, 

W/t// her moyst clothes w/t/z teares all be spreynt. 
The medewes in May shew therof hei: co;«pleynt.259 

38 
Next hyr sate Mars, myghty god & strong, 260 

W/tA a flame of fyre enuyround all about, 
A crowne of yron on hys hede, a spere in hys hand. 
Hyt semyd by hys chere as he wold haue fought. 263 
.And next vnto hym, as I p^rceue mought, 
Sate the goddese Diana, in a mantell fyne 
Of blak sylke, purfylyd wivh poudryd hermyne, 266 

39 
Lyke as she had tabe the mantell & the ryng. 267 

And next vnto hyf, 2 ^ ,jd royally. 
Sate the good lupyter, in hys demenyng 

Full sad, and wyse he semyd sykerly. 270 

A crown of tynne stoode on hys hede. 
And that I recorde of all philosophres 
That lytyll store of coyne kepe in her cofres. 273 
40 
loynyd to hym in syttyng next ther was 274 

The goddesse luno, full rychely beseene 
In a sercote that shone as bryght as glas, 

Of goldsmythes werke w/t/z spanglys wrought be-dene. 
Of royall rychesse wantyd she noone I wene. 
And next by her sate the god Saturne, 
That oft sythe causeth many oon to morne. 2 So 

41 
But he was clad me thought straungely, 281 

For of frost & snow was all his aray; 
In hys hand he helde a fawchon all blody. 

Hyt semyd by hys chere as he wold make a fray. 2 84 
A bawdryk of isykles about hys nek gay 

He had, and aboue an hygh on hys hede, [leede. 
Cowchyd w/t/^ hayle stonys, he weryd a crowne of 



First, with 
Apollo, is set 
Aurora, wet 
with morning 
tears. 



Next, Mars, 
environed with 
flame, an iron 
crown upon 
his head, a 
spear in his 
hand. 

With him is 
Diana, in a 
mantle of silk 
and ermine. 



Jupiter sits 
next, sad and 
wise, wearing a 
crown of tin. 



With him is 
Juno, dressed 
in royal rich- 
ness. 



Saturn next, 



arrayed in 
frost and snow, 
a bloody fal- 
chion in his 
hand, a ring of 
icicles about 
his neck, a 
crown of lead 
on high. 



10 



Assembly of the Gods. 



With him sits 
Ceres in a gar- 
ment of sack- 
cloth embroid- 
ered with 
sheaves and 
sickles. 



Next Cupid, 
dressed in 
gallant array 
with jewels, so 
that the palace 
shone. He 
sits embracing 
Ceres with one 



With him is 
Athena, clad 
in purple with 
a pearly crown. 



Pluto next, 
environed in 
mist and 
clothed in a 
smoky net, 
smelling of 
fire and sul 
phur. 



Fortune sits 
with himj she 
is dressed 
gaudily in 
green. 



42 

And next in ordre was set bv hys svde 

Ceres, the goddesse, in a garment 
Of sak clothe made with sleues large & wvde, 
Embrowderyd with sheues &: svkelvs bent. 
Of all man.?/- greynes she sealyd the patent, 
In token that she was the goddesse of corne. 
Olde poetys sey she bereth the heruest home. 

43 
Then was there set the god Cupido, 

All fresshe «&: galaunt &: costlew in arav. 
W/t/t ouches & ryngd'i- he was beset so 

The paleys therof shone as though hit had be day 
A kerchyef of plesaunce stood ouer hvs helme ay. 
The goddesse Ceres he lookvd in the face 
And with oon arme he hyr dyd enbrace. 

44 

Next to Cupido in ordyr by and by, 

Of worldly wysdoiii, sate the forteresse 
Callyd Othea, chyef grounde of polycy, 

Rewler of knvghthode, of Prudence the goddese. 
Clad all in p///-pur was she more & lesse, 
Safe oil her hede a crowne the? stood, 
Cowchyd with perles, oryent, fyne and good. 

45 
And next to her was god Pluto set, 

W/t/^ a derke myst enuyrond all aboute, 
Hys clothyng was made of a smoky net. 
Hys colour was, bothe w/t//vn & withonte, 
Foule, derke «S: dv/zmie ; hvs even gret & stoute. 
Of fyre and sulphure all hvs odo//r wase ; 
That wo was me whyle I behelde hys fase. 
46 
Fortune, the goddesse, with her party face 

Was vnto Pluto next in ordre set. 
Varyaunt she was ; av in short space 

Hyr whele was redy to turne w/t//out let. 
Hyr gowne was of gawdv grene chamelet, 
Chaungeable of sondry dyU(V-se colowres, 
To the condycyons accordyng of hyr shoures. 



2S8 

291 

294 
295 

298 



302 

305 

308 
309 

312 

315 
316 

319 

322 



Assembly of the Gods. 



II 



47 
And by her sate though he vnworthy were, 323 

The rewde god Pan, of shep^rdys the gyde. 
Clad in russet frese, & breched lyke a bere, 

W/t/i a gret tar box hangyng by hys syde. 326 

A shepecrook in hys hand he sparyd for no pryde. 
And at hys feete lay a prykeryd curre. 
He ratelyd in the throte as he had the murre. 329 
48 
Ysys, the goddesse, bare hym company. 330 

For at the table next she sat by hys syde. 
In a close kyrtyll enbrowderyd curyously, 
W/t/i braunches & leues, brood, large & wyde, 333 

. Grene as any gresse in the som^?-tyde. 

Of all mant'r frute she had the gou^rnaunce. 

Of sauerys odoryferous was her sustynaunce. 336 

49 
Next hyr was then god Neptunz/'j- set. 337 

He sauoryd lyke a fyssher^of hyw I spake before. 
Hyt semyd by hys clothes as they had be wet. [score. 
Aboute hym, in hys gyrdyll stede, hyng fysshes many a 
Of hys straunge aray mifruelyd I sore. 

A shyp wilh a toppe & seyle was hys crest. 

Me thought he was gayly dysgysyd at that fest. 343 

50 
Then toke Mynerue, the goddesse, her seta 344 

Joyntly to Neptun//;^, all in curas clad, 
Gauntlett^j- on hyr handys, & sabatouns on hyr fete. 
She loked eud'r about as though she had be mad. 347 
An hamer and a sythe on her hede she had. 

She weryd ii bokelers, ooh by her syde, [pryde. 

That other ye wote where ; thys was all her 350 

51 
Then came the good Bachus, and by her set hym downe, 

Holdyng in hys hande a cup full of wyne. 
Of grene vyne leues he weryd a ioly crowne. 

He was clad in clustres of grapes good and fyne. 354 
A garland of yuy he chase for hys sygne ; 

On hys hede he had a thredebare kendall hood ; 
A gymlot and a fauset theropon stood. 357 



By her is god 
Pan dressed 
rudely, a tar- 
box by his 
side, a sheep- 
crook in his 
hand, 

at his feet a 
cur. 



Isys keeps him 
company in a 
dress embroid- 
ered with 
leaves and 
branches. 



Neptune sits 
next. Fishes 
hang at his 
girdle. A ship 
is his crest. 



With him sits 
Minerva, clad 
in armor, a 
hammer and 
scythe upon 
her head. 



Bacchus sits _ 
by her, clad in 
grape clusters, 
a cup of wine 
in his hand. 
His sign is a 
garland of 
yew. 



12 



Assembly of the Gods 



With him sits 
pale Phebe, 
boasting of her 
rule. 



She wears a 
silver crowi;. 



Mercury seats 
himself next, a 
god of golden 
tongue. In 
his hand he 
ha<! n box of 
quicksilver. 



58 



His companion 
is Venus, 
bright of 
chere, dressed 
curiously, her 
hair like gold 
wire. 



52 

Next hym sate Pheb[e], wkh hyr colo//y- pale. 

Fat she was of face but of complexyon fevnt. 
She seyde she rewlyd Neptun//j and made hvw to avale. 
And ones in the moneth \\i\.h Phebus was she nievnt 
Also ne were she Ceres were atevnt. 

Thus she sate & tolde the myght of hvr nature, 
And on hyr hede she weryd a crowne of syluyr pure 

53 
loyntly to her ^NLvcurius tooke hvs see 

As came to hys course — wytnesse the zodvak. 
He had a gyldyn tong, as fyll for hys degree. 
In eloquence of langage he passyd all the pak, 
For in hys talkyng no man cowde fynde lak. 
A box w/t// quyksykKT he had in hvs hand, 
Multyplyers know hit well in twets- land. 

54 
Bv him sate Dame Venus w/t// colour crvstallvne, 

Whoos long here shone as wvre of goold brvght. 
Cryspe was her skvn, her eyen coluwbvne, 
Rauysshyd myii hert her chere was so lyght. 
Patronesse of plesaunce, be namvd well se mvght. 
A smokke was her wede, garnysshyd curvously. 
But aboue all other she had a wanton ev. 



She wears a 
copper crown. 

Between 
Aurora and 
Venus Apollo 
sits him down. 
He gives light 
to the com- 
pany. His 
crown is of 
gold. 



Waiting at the 
table are poets 
and philoso- 
phers : 

Cicero, Aris- 
totle, Ptolemy, 
Dorothe, 
Diogenes, 
Plato, Mes- 
sala, Socrates, 



65 



6S 



78 



D5 



On her hede she weryd a rede copyr crowne. 379 

A nosegay she had made full pleasauntly. 
Betwene her and Aurora, Apollo set hym downe. 

W/t/i hys beames bryght he shone so feruently 38 2 
That he therw/t// gladyd all the company. 
A crowne of pure gold was on hys hede set, 
In sygne that he was mastyr & lord of that banket. 
56 
Thus was the table set rownde aboute 386 

With goddys & goddesses, as I haue yow tolde. 
Awaytyng on the boorde was a gret route 

Of sage phylosophyrs &: poetes many folde. 389 

Ther was sad S^xhero & Arystotyll olde, 
Tholome, Dorothe, \<Mi Dyogenes, 
Plato, Messehala, & wyse Socrates. 392 



Discord and Atropos. 



13 



57 



393 



399 



Sortes and Saphyrus with Hermes stood behynde. 

Auycen and Aueroys with hem were in fere. 
Galyen & Ipocras, that physylc haue in mynde, 

V<Ihh helpe of Esculapion, toward hem drow nere. 396 
Virgyle, Orace, Ouyde and Omere, 

Euclyde, and Albert yaue her attendaunce, 
To do the goddys and goddesses plesaunce. 
58 
Whore berdyd Orpheus was there with hys harpe 

And as a poet musykall made he melody. 
Othyr mynstrall had they none, safe Pan gan to carpe 
Of hyslewde bagpype, whyche causyd the company 403 
To lawe. Yet many mo the? were, yef I shuld nat ly, 
Som yong, som olde, bothe bettyr and werse, 
But mo of her names can I not reherse. 



Sortes, 

Saphirus, 

Hermes, 

Avicen, 

Averroes, 

Galen, 

Hypocras, 

Esculapius, 

Virgil, 

Horace, Ovid 

Homer, 

Euclid and 

Albert. 



400 Orpheus and 



Pan act as 
minstrels. 



59 



406 



407 



410 



Of all man^r deyntees tner was habundaunce, 

Of metys & drynkes foyson plenteuous. 
In came Dyscord to haue made varyaunce. 

But there was no rome to set hyr in that hous. 
The goddys remembryd the scisme odyous 

Among the three goddesses that [s]he had wrought 
At the fest of Peleus, wherfor they thought 413 

60 
They wold nat with her dele in auenture 

Lest she theym brought to som inconuenyent. 
She, seyng thys, was wrothe out of mesure 

And in that gret wrethe out of the paleyce went, 
Seying to hersylf that chere shuld ^ey repent. 
And anone with Attropos happyd she to mete. 
As he had bene agoste came in wyndyng shete. 420 
61 
She toke hym by the hande & rownyd in hys eare 421 

And told hym of the banket that was so delycate, 
Howe she was resceuyd, what chere she had there, 

And howe eu<^;-y god sate in hys estate. [date!" 

" Ys hit thus!" quod Attropos, "what in the deuyllys 

"Well," he seyde, "I see well howe the game gooth, 

Ones yet for your sake shall I make hem wrooth." 427 



414 



417 



Discord enters 
but can gain 
no seat. 



thence departs 
in wrath, 
meeting on the 
way with 
Atropos, 



14 



Co7nplaint of Atropos. 



who takes her 
part, aiul 
comes into the 
palace. 



He looks like 
a madman and 
salutes the 
company 
rudely. 



Atropos makes 
his charge : 



He reminds 
the gods of his 
office of death - 
bringing 



unto every 
man. 



62 

And when she had hym all togedyr tolde, 428 

From her he departyd and of hyr toke hys leiie, 
Seying that for hyr sake hys wey take he wolde 

In to the paleyce hys matyrs to meue. 431 

And er he thens went he trowyd hem to greue 
W/t// suche tydyng^j- as he shuld hem tell. 
So forthe yn he went & spake wordys fell. 434 

63 
When he came in the p;rsence of the godd^j' all, 435 

As he had be woode he lookyd hym about. 
His shete from his body down he let fall, 

And on a rewde xw^wcr he salutyd all the rout, 438 
W/t// a bold voyse, carpyng wordys stout. 
But he spake all holow, as hit had be ooii 
Had spoke in another world paK had woo begooii. 441 
64 
He stood forthe boldly w/t// grym countenaunce, 442 

Saying in thys wyse as ye shall here, 
"All ye gret goddys yeue attendaunce 

Vnto my wordys w/'t//out all daungere, 445 

Remembre howe ye made me your offycere 
All tho w/t// my dart fynally to chastyse 
That yow dysobeyed or wold your law dyspyse. 448 
65 
" And for the more sewerte ye seelyd my patent, 449 

Yeuyng me full power soo to occupy, 
Wherto I haue enployed myfi entent 

And that can Dame Nature well testyfy ; 452 

Yef she be examynyd she woll hit nat deny. 
For when she forsaketh any creature, 
I am ay redy to take hym to my cure. 455 

66 
"Thus haue I dewly, w/t// all my dilygence, 456 

Executyd the offyce of olde antiquyte, 
To me by yow grauntyd, by your comon sentence. 

For I spared nooii hygh nor low degre, 459 

So that on my part no defaute hath be. 
For as sone as any to me co;//myttyd wase 
I smete hvm to the hert — he had noon other grase. 



Complaint of Atropos. 



15 



67 



463 



466 



469 



470 



473 



" Ector of Troy, for all hys chyualry, 

Alexaunder, the grete & myghty conquerowr, 
lulius Cesar, w/t/^ all hys company, 
Dauid, nor losue, nor worthy Artour, 
Charles the noble, that was so gret of honour. 
Nor ludas Machabee for all hys trew hert, 
Nor Godfrey of Boleyh cowde me nat astert. 
68 
"Nabugodonozor, for all hys gret pryde. 
Nor the King of Egypt, cruell Pharao, 
lason, ne Hercules, went they neu^r so wyde, 
Cosdras, Hanyball, nor gentyll Sypio, 
■Cirus, Achilles, nor many another mo. 
For feyre or foulc gat of me no grace. 
But all be at the last I sesyd hem w/t// my mace. 476 
69 
" Thus hav I brought euf-'ry creature 

To an ende bothe num, fysshe, foule & beste, 
And euif/y other thyng in whom Dame Nature 
Hath any iurysdiccion, owther most or leste, 
Except oonly ooii in whom your beheste 
Ys to me broke ; for ye me promysyd 
That my myght of nooii shuld haue be dyspysyd. 483 
70 
"Wherof the contrary, dar 1 well avowe, 

Ys trew ; for oofi there ys that wyll nat apply 
Vnto my correccion nor in no wyse bowe 

To the dynt of my dart for doole nor destyny. 
What comfort he hath, nor the cause why 

That hesorebelleth, I cannat thynkeof ryght [dyght. 
But yef ye haue hym grauntyd your aldyrs saf con- 

71 
"And yef ye so haue, then do ye nat as goddys. 

For a goddffi' wrytyng may nat reu^rsyd be. 
Yef hit shuld I wold nat yeue 11 pesecoddys 
For graunt of your patent of offyce ner of fee. 
Wherfore in thys mater do me equyte 

Accordyng to my patent, for tyll thys be do 

Ye haue no more my S(?/-uyce nor my good wvll lo." 



477 



4S0 



All have 

fallen: 

Hector, 

Alexander, 

Ca;sar, David, 

Joshua, 

Arthur, 

Charles, 

Judas Macha- 

beus, Godfrey, 



Nebuchad- 
nezzar, 
Pharao, 
Jason, Her- 
cules, Cosdras 
Hannibal, 
Scipio, 
Cyrus and 
Achilles. 



All have been 
brought to 
their end 
except one. 



484 



487 



This one the 
gods guard 
contrary to 
their agree- 
ment. 



491 



494 



Therefore 
justice is 
demanded, 



i6 



Compact of Airopos and the Gods. 



The gods all 
promise their 
aid in destroy- 
ing the man. 



Apollo will 
confound him 
with his car. 



Neptune will 
drown him. 



Mars will pur- 
sue him with 
thunder and 
lightning, 

Saturn will 
freeze him, 



Mercury will 
deprive him of 
speech. 



Athena sug- 
gests that the 
offender may 
be in the air, 
and without 
help of EoUis 
their anger is 
in vain ; there- 
fore she coun- 
sels that Nep- 
tune forgive 
his rancor. 



But I have 
forgotten to 
tell you how 
Eolus came 
into Pluto's 
power. 



In wet 

weather Eolus, 
to revive his 
spirits, 



72 

And when all the godd^.y had Attropos herde, 498 

As they had be woode they brayde vp at oonys 
And seyde they wold nat reste tyll he were conqueryd, 
Taken and dystroyed, boody, blood and boonys; 501 
And that they swere gret othes for the noonys 
Her lawe to dyspyce, that was so malapert. 
They seyde he shuld be taught for to be so pert. 504 

73 
"Well," seyde Apollo, "yef he on erthe bee^ 505 

Wyth my brennyng chare I shall hym confound." 
"In feythe," quod Neptun/zj-, "& yef he kepe the see, 
He may be full sure he shall sone be drownd." 508 
"A syr," seyd Mars, "thys haue we well fownd 
That any dysobeyed owre godlv precept. 
We may well thynke we haue to long slept. 511 

74 
"But neui?rthelese where I may hym fynde 512 

W/t// thundreand leyte about I shall hym chase." 
"And I," quod Saturn?/^', "before and behynde 

W/t/^ my bytter colde shall shew \\ym hard grase." 515 
"Well," seyd M^rcurius, "yef I may see hys fase, 
For euer of hys speche I shall hym depryue; 
So that hym were bettyr be dede than a Ivue." 518 

75 
"Ye," quod Othea, "yet may he well be 519 

In the eyre where he woll & ax yow no leue, 
Wherfore, my counsell ys that all we 

May entrete Neptunus hys ranco?^/- to foryeue, 522 
And then I dowte not Eolus wyll hym myscheue ; 
So may ye be sewre he shall yow nat escape, 
And elles of all your angre woll he make but a iape." 
76 
But for to tell yow how Eolus was brought 526 

In daungcr of Pluto yet had I foryete, 
Wherfore on thys mater ferther wyll I nought 

Precede, tyll I therof haue knowleche yow lete. 529 
Hyt fell on a day the wedyr was wete 

And Eolus thought he wold on hys disport 

Go to reioyse hys spyrytifi' and comfort. 532 



Story of Eoliis. 



17 



77 
He thought he wold see what was in the grownd, 533 

And in a krauers forthe he gan hym dresse. 
A drowthe had the erthe late before fownd 

That causyd hit to chyne & krany more and lesse. 536 
Sodeynly by weet constreynyd by duresse 
Was the ground to close hys sup(?rfyciall face 
So strayte that to scape Eolus had no space. 539 
78 
Thys seyng Eolus he styll w/t//yn aboode, 540 

Sekyng where he myght haue goon out fer or nere. 
A none he was aspyed and ooh to Pluto roode 

And told hym how Eolus was in hys daungere. 543 
Then seyde he to Cerberus, " Fet me that prysonere 
Till I haue hym scene; let him nat go at large. 
As thow wylt answer of hym I yeue p& charge." 546 

79 
Thus was thys Eolus take prysoner. 547 

Then happyd hit so that the same day 
Pluto had p;-i?fyxyd for a gret mater 

Mynos to syt in his roob of ray. 550 

Wherfore Cerberus tooke the next way 

And led hym to the place where the court shalbe, 
Whedyr as I tolde yow Morpheus brought me. 553 
80 
So thedyr came Diana caryed in a carre, 554 

To make her compleynt as I told yow all. 
And so dyd Neptun/z'j-, that dothe bothe make & marre, 
Walewyng with hys wawes & tomblyng as a ball. 557 
Her matyrs they meuyd fall what may befall. 
Ther was the furst syght that ^wer I they;« sawe, 
And yef I neu^r do efte I rekke nat a strawe. 560 
81 
Bot now to my matyr to returne ageyfi 561 

And to begynne newe where I left — 
When all the goddifj- had done her besy peyii 

The wey to contryue how he shuld be reft 564 

Of hys lyfe, that Attropos had no cause eft 

To compleyii, than Pheb[e] styrt vppon her fete 
And seyd, " I pray yow let me speke a worde yete: 567 



entered the 
earth by a 
crevice, which 
was com - 
pressed by the 
water, shutting 
Eolus in. 



He was 
reported to 
Pluto, who 
ordered Cer- 
berus to take 
charge of the 
prisoner. 



On that day 
the court of 
Minos sat, 
whither Eolus 
was brought as 
I have told 
you, 



and there 
Diana and 
Neptune made 
their com- 
plaints as I 
said. ' 



To return to 
my matter of 
Atropos. 



Phebe wishes 
to speak. 



i8 



Reconciliation "a.'ith Eolus. 



She alone 
dares to entreat 
Neptune 



to leave all old 
rancor. 



Neptune 
forgives. 



Eolus agrees 
to afflict the 
offender with 
his blasts. 



Pluto asks 
their enemy's 
name. 

Atropos 
replied that it 
is Virtue ; 
whereat Pluto 
grants his 
assistance 



82 

" Othea meneth well to sey on thys wvse, 568 

But all to entrete Neptun/zj-, I hope, shall nat nede. 
Me semeth I alone durst take that entvrpryse 

Er 1 am begylyd, or elles I shall spede. 571 

How say ye, Neptun?/^-, shall I do thys dede? 
Wyll ye your rancour sese at my request?" 
" Madame," quod he, " reule me as ye lyketh best. " 5 74 

"Gram^rcy," seyd she, "of your good wyll 575 

That hit pleseth yow to shew me that fauo«r. 
Wherefore the godd^^j- hygh plesure to fulfvll, 

Pif-rforme my desyre &: leeue all olde rancoz^r, 578 

For our aldyrs wele & sauyng of our honour, 
Ageyn thys Eolus that ye long haue had." 
"Hyt ys doon," quoth he, " forsoth then am I glad." 
84 
Seyde he, "iVbw then, Eolus, be thow to vs trew, 5S2 

Kepe well the evr, and owre gret rebell 
May we then soone tner to vs subdew." 

"Yes and that," quod Eolus, "shall ve here tell 585 
No where in the evre shall he reste nor dwell. 
Yef he do therof, put me in defaute, 
W/t// my bytter blastys so shall I hvm asaute." 588 
' 85 
"What," seyde the god Pluto, "what ys hys name 589 

That thus pr^sumeth agevfi vs to rebell?" 
"V^rtew," quod Attropos, "that haue he mvkyll shame. 
He ys TiQwer confoundvd, thus of hvm here I tell." 592 
"A," seyde thys Pluto, " in dede I know hym well, 
He hathe be eu<?r mvn vtter enemv. 
Wherfore thys mater ageyfi hvm take wyll I. 595 
86 
"For all the bavtys that ye for hvm haue leyde, 596 

W/t/iout mvn helpe, be nat worth a peere. 
For though ye all the contrary had sevde, 

Yet wolde he breede rvght nygh vo//r althrys eere. 599 
No xnzvicr of thvng can hym hurt nor dere 
Saue oonlv oofi, a son of mvfi bastard, 
Whos name ys Vvce — ^he kepeth mv vaward. 602 



77^1? Fi'ccs. 



19 



87 
" Wherfore, yow Cerberus, now I the dyscharge 603 

Of Eolus, and wyll that thow hydyr fette 
My dere son Vyce, & sey that I hym charge 

That he to me come w/t/^out any lette, 606 

Armyd at all poyntes, for a day ys sette, 

That he w/t/i Vertew for all the godd^J sake, 

In our defense must on hym batayll take." 609 



and sends 
Cerberus to 
bring Vice to 
make battle 
with Virtue. 



Forthe then went Cerberus wi't/i hys fyry cheyne 610 

And brought thedyr Vyce, as he cowmaundyd was, 
Ageyn noble Vrrtew that batayll to dereygne. 

On a glydyng s<'/'pent rydyng a gret pas, 613 

Formyd lyke a dragon, scalyd harde as glas, 
Whos mouth flamyd feere w/t//out fayll. 
Wyngys had hit srrpentyne and a long tayll. 



89 



616 



617 



Armyd was Vyce all in cure boyle. 

Hard as any horfi, blakker fef then soot. 
An vngoodly soort folowyd hym parde, 

Of vnhappy capteyns of myschyef croppe & roote. 620 
Pryde was the furst pat next hy??/ roode, God woote, 
On a roryng lyofi ; next whom came Enuy, 
Syttyng on a wolfe — he had a scorfifull ey. 623 

90 
Wrethe bestrode a wylde bore, and next hem gan ryde. 

In hys hand he bare a blody nakyd swerde. 
Next whom came Couetyse, that goth so fer and wyde, 
Rydyng on a olyfaunt, as he had befi aferde. 627 

Aftyr whom rood Glotony, wi't/i hys fat berde, 
Syttyng on a bere, wit/i hys gret bely. 
And next hym on a goot folowyd Lechery. 630 

91 
Slowthe was so slepy he came all behynde 631 

On a dull asse, a full wery pase. 
These were the capyteyns that Vyce cowde fynde 

B[e]st to set hys felde and folow on the chase. 634 
As for pety capteyns many mo the[r] wase; 
As Sacrylege, Symony, & Dyssimulacion, 
Manslaughter, Mordre, Theft Sz Extorcion, 637 



Cerberus leads 
forward Vice 
who comes 
riding on a 
winged serpent 
breathing fire. 



Following him 
is a host of 
captains, Pride 
on a lion, 
Envy on a 
wolf, 



Wrath on a 
wild-boar, 



Covetousness 
on an elephant 

Gluttony on a 
bear. 



Lechery on a 
goat, 

Sloth on 
an ass. 



Inferior 
captains are: 
Sacrilege, 
Simony, etc. 



20 The Vices. 

92 
Arrogaunce, P^rsumpcion, w/t/; Contumacy, 638 

Contewpcion, Contempt, & Inobedience, 
Malyce, Frowardnes, Gret lelacy, 

Woodnesse, Hate, Stryfe, and Impacience, 641 

Vnkyndnesse, Oppression, w/t// WofuU Neglygence, 
Murmoz/r, Myschyef, Falshood & Detraccion, 
Vsury, P(f/-iury, Ly, and Adulacion, 644 

93 
Wrong, Rauyne, Sturdy Vyolence, 645 

False lugement, whh Obstynacy, 
Dysseyte, Dronkenes, and Improuydence, 

Boldnes in Yll, w/t/z Foule Rybaudy, 648 

Fornycacion, Incest, and Auoutry, 
Vnshamefastnes, w/t/^ Prodygalyte, 
Blaspheme, Veynglory, & Wordly Vanyte, 651 

94 
Ignoraunce, Diffydence, w/t/^ Ipocrysy, 652 

Scysme, Ranco?/;r, Debate, & Offense, 
Heresy, Erroz/r, w/t,^ Idolatry, 

New-Fangylnes, & sotyll False Pretense, 655 

Inordinat Desyre of Worldly Excellense, 
Feynyd Pouert, wixh Apostasy, 
Disclaundyr, Skorne, & Vnkynde lelousy, 658 

95 
Hoordam, Bawdry, False Mayntenaunce, 659 

Treson, Abusion, & Pety Brybry ; 
Vsurpacion, w/t/; Horryble Vengeaunce, 

Came alther last of that company. 662 

All these pety capteyns folowyd by & by, 
Shewyng they;«sylf in the palyse wyde. 
And seyde they were redy that batayll to abyde. 665 
96 
There is a host Idvlncsse sct the comons in aray 666 

of commons -' 

led by Idleness, W/t/iOut the palcysc on a fayre felde. 

But there was an oost for to make a fray ! 

I trow suche another neu^r man behelde ! 669 

Many was the wepyn among he»? pdX pey welde ! 
What pepyll they were that came to that dysport 
I shall yow declare of many a sondry sort. 672 



The Vices. 



21 



97 

Thef were bosters, braggars, & brybores, 

Praters, fasers, strechers, & wrythers, 
Shamefull shakerles, soleyn shaueldores, 

Oppressours of pepyll, and myghty crakers, 
Meynteiiours of querelles, horryble lyers, 
Theues, traytours, w/t/' false hervtykes, 
Charmers, sorcerers, & many scismatykes, 
98 
Pryuy svmonyakiTi', w/t// false vsurers, 

Multyplyers, coyii wasshers & clyppers, 
Wrong vsurpers, w/t// gret extorcioners, 
Bakbyters, glosers, & fayre flaterers, 
Malycious murmurers, w/t// grete claterers, 
Tregetours, tryphelers, feyners of tales, 
Lastyuyous lurdeyns, & pykers of males, 

99 
Rowners, uagabound^i', forgers of lesyng^j, 

Robbers, reuers, rauenouse ryfelers, 
Choppers of churches, fynders of tydyng^fj-, 
Marrers of maters, & money makers, 
Stalkers by nyght, w/t// euesdroppers, 
Fyghters, brawlers, brekers of lofedayes, 
Getters, chyders, causers of frayes, 
100 
Tytyuyllys, tyraunti?x, w/t// turmentoures, 

Cursyd apostati?x, relygyous dyssymulers, 
Closshers, carders, w/t// com on hasardoures, 
Tyburne coloppys, and pursekytters, 
Pylary knyght^j", double tollyng myllers. 

Gay ioly tapsters, w/t// hostelers of the stewes, 
Hoores, and baudys — that many bale brewes, 

lOI 

Bolde blasphemers, \iixh false ipocrytes, 

Brothelles, brokers, abhomynable swerers, 
Dryuylles, dastardifj', dyspysers of ryghtes, 
Homycydes, poyseners, & comon morderers, 
Skoldes, caytyffys, comborouse clappers, 

Idolatres, enchauntours, w/t// false renegates, 
Sotyll ambidextres, & sekers of debates. 



673 boasters, 

braggers, etc. 



676 



679 
680 

683 

686 
687 

690 

693 
694 

697 

700 
701 

704 

707 



2 2 The Vices. 

I02 

Pseudo pr^phetes, false sodomytes, 708 

Quelmers of chyldren, wiih fornycatours, 
Wetewold^^ that suffre syii in her svghtes, 

Auouterers, & abhominable auaiintours 711 

Of syn, gret clappers, & makers of clamours ; 
Vnthryftys, & vnlustes came also to that game, 
W/t/2 luskes, & loselles that myght nat thryue for shame. 
103 
These were the comons came thedyr that day 715 

Redy bowne in batayll Vi^rtew to abyde. 
Apollo, theym beholdyng, began for to say 
Apollo wishes To the godd^-j- & goddesses beyng there that tvde, 718 

to send a ° '-' .' o ^ ' / 

herald to warn "Me secmcth conucnycnt an herowde to ryde 

Virtue, 

To V^Ttew, & byd hyin to batayll make hym bone, 
Hymsylf to defende, for sowght he shalbe sone. 721 
104 
"And let hym nat be sodenlv take 722 

All dyspurueyde or then he beware. 
For then shuld our dyshono//r awake 
Vice protests. Yef he were cowardly take in a snare." 725 

"Ee," quod Vyce, "for that haue I no care. 
I will auauntage take where I may." 
That heryng, Morpheus pr3Uiyly stale away, 728 

105 
But Morpheus And went to warne Vifrtew of all thys afray, 729 

prepare^vLue And bade hym awake & make hymsylf strong, 
For he was lyke to endure that day 

A gret mortall shoure, er hit were euesong, 732 

W/t/i Vyce, wherfore he bade him nat long 
Tary to sende aftyr more socour — 
Yef he dede, hit shuld turne hym to dolour. 735 
106 
And brefely the matyr to hym he declaryd, 736 

Lyke as ye haue herde begynnyng & ende. 
"Well," quoth V(^rtu,"he shall nat be sparyd. 

To the felde I wyll wende how hit wende. 739 

But gram^rcy, Morpheus, myn owne dere frende, 
Of your trew hert & feythefull entent 
That ye in thys mater to me ward haue ment." 742 



The Virtues. 



107 
Thys doon, Morpheous departyd away 743 

Fro V^Ttu to the palyce retornyng ageyfi. 
Nooii hym aspyed, that I daf well say. 

In whyche tyme Vf^rtew dyd hys besv peyn 746 

Pepyll to reyse hys quarell to menteyii. 
Ymaginacion was hys messyngere — 
He went to warne pepyll bothe fer & nere. 749 

108 
And bade hem come in all the haste they ixi^ght 750 

For to streyngthe V(?rtu, for, w/t/^out fayll, 
He seyde he shuld haue, long or hit were nyght, 

W/t/z Vyce to do a myghty strong batayll ; 753 

Of vngracious gastes he bryngeth a long tayll. 
"Wherfore hit behoueth to helpe at thys nede 
And aftyr thys shall Vcvtu rewarde yowre mede." 756 
109 
When Imaginacion had goon hys cyrcute 757 

To Vf^rtews frendys thus all aboute, 
W/t//yn short tyme many men of myght 

Gaderyd to V^rtew in all that they mowte. 760 

They hym comfortyd & bad hym put no dowte 
Hys vttyr enemy Vyce to ouerthrow, 
Though he w/t/i hym brought neu<?r so gret arow. 
1 10 
And when V<?rtew sy the substaunce of hys oost, 764 

He prayed all the comons to the felde hem hy, 
W/t// her pety capteynys both lest & moost, 

And he w/t>^ hys capteynys shuld folow redyly. 767 
For he seyde he knew well that Vyce was full ny. 
And who myght furst of the felde recouer the centre 
Wold kepe out that other he shuld natesylv entre. 770 

I T I 

Then sent he forthe Baptym to the felde before, 771 

And prayed hym hertyly hit to ouerse, 
That no man<f;" trayne nor caltrop theryn wore 

To noy nor hurt hym nor hys meyne. 774 

And when he thedyr came he began to see 

How Vyce hys purseuaunte, Cryme Oryginall, 
Was entryd before and had sesyd vp all. 777 



Virtue makes 
ready, sending 
out his 
messenger, 
Imagination, 
to bid his 
people to come 
into his help. 



Virtue's host 
assembles. 



They are led 
towards the 
field. 



Baptism is 
sent to spy out 
the ground. 



Original Sin 
had entered 
before him 



24 



The I Irtues. 



but fled at 
Baptism's 
approach. 



Virtue and his 
host follow. 



Virtue leads, 
sitting in a car 
adorned with 
gold and 
stones, and 
crowned with 
laurel. 



Four knights 
guide the car. 
Righteousness, 
Prudence, 
Strength and 
Temperance. 



Following 
Virtue come 
seven captains 
each with an 
appropriate 
crest. Humility 
on a lamb, 



Charity on a 
tiger, 



Patience on a 
camel, 



Liberality on a 
dromedary, 



But as sone as hefof Baptyni had a syght, 778 

He fled fast away and left tlie felde alone. 
And anone Bablyifi entred \yhh hys myght, 

Serchyng all about where thys Crynie had gone. 781 
But the felde was clene defaute ; fonde he none. 
Then cam V^rtew aftyr w/t/^ hys gret oost, 
And hys mvghty capytayns, bothe leste & moost. 784 

113 
But to enforme yow howe he thedyr came, 785 

And what man^r capyteyns he to the felde brought — 
Hymsylfe, sekerly, Avas the furst man 

Of all hys gret hoost that thedyrward sought, 
Syttyng in a chare that rychely was wrought, 
W/t/i golde & peerles & gemmes precious, 
Crownyd w/t// lauref as lord vyctoryous. 
114 
Foure dowtv knyghtys about the chare went 

At eu^ry corner on hit for to gyde, 
And convey accordyng to V^rtew hys entent. 
At the furst corn^-r was Ryghtwysnes that tyde, 
Prudence at the second was set to abyde, 

At the thryd Streyngth,the fourth kept Temp^raunce. 
These the chare gydyd to Vij-rtew hys plesaunce.798 

115 
Next to the chare, seuen capteyns the? roode, 799 

Ychone aftyr other in ordre by and by. 
Humylyte was the furst ; a lambe he bestroode. 

W/t/i countenaunce demure he roode full soburly. 802 
A fawcon gentyll stood on hys helme on hy. 
And next aftyr hym came there Charyte 
Rydyng on a tygre, as fyll to hys degre. 
116 
Roody as a roose ay he kept hys chere. 

On hys helme on hygh a pellycan he bare. 
Next whom came Pacyence, paX. nowhere hath no pere, 
On a camell rydyng, as voyde of all care. 809 

A fenyx on hys helme stood. So forthe gan he fare. 
Who next hym folowyd but Lyberalyte, 
Syttyng on a dromedary, pa\. was bothe good & free. 



788 



791 



792 



795 



805 



806 



Abstinence on 



The Virtues. 25 

117 
On hys helme for hys crest he bare an ospray. 813 

And next aftyr hym folowyd Abstynence, 
Rydyng on an hert, hys trapure was gay, a hart, 

He semyd a lorde of ryght gret excellence. 816 

A popyniay was hys crest ; he was of gret dyffence. 

Next hym folowyd Chastyte on an unycorn. Chastity on a 

-' • - -' ' unicorn, 

Arymd at all poynti?^ behynde and beforn. 819 

118 
A turtyldoue he bare an hygh for hys crest. 820 

Then came Good Besynesse, last of the seuyn, ^°°^ Business 

Rydyng on a panter, a sondry colouryd best, coloured beast. 

Gloryously beseene as he had come from heuyn. 823 
A crane on hys hede stood, hys crest for to steuyn. 

All these seuyn capteynes had standard^J of pryce, bire"^'^'° 
Eche of hem acordyng aftyr hys deuyse. 826 ade^cef ^"'^ 

119 
Many pety capteyns aftyr these went, 827 Many minor 

•^ -^ ' captains come 

AsTrew Feythe, & Hoope, M^rcy, Peese, & Pyte, next, True 

•^ •' ' y ' Faith, Hope, 

Ryght, Trowthe, Mekenesse, w/t/z Good Entent, ^tc. 

Goodness, Concorde, & Parfyte Vnyte, 830 

Honest Trew Loue, w/t/; Symplycyte, 
Prayer, Fastyng, Preuy Almysdede, 
loynyd w/t/? the Artycles of the Crede, 833 

1 20 
Confession, Contrycion, and Satysfaccion, 834 

W/t/i Sorow for Synne, & Gret Repentaunce, 
Foryeuenes of Trespas, w/t// Good Dysposicion, 

Resystence of Wrong, P^rformyng of Penaunce, 837 
Hooly Deuocion, w/t^ Good Contynuaunce, 

Preesthood theym folowyd wi\.h the Sac^ixment^i', 
And Sadnesse also w/t// the Co?-^maundement^j, 840 
121 
Sufferaunce in Trowble, w/t// Innocency, 841 

Clennesse, Continence, and Virginite, 
Kyndnesse, Reu<frence, w/t// Curtesy, 

Content & Plesyd w/t/? Pyteous Pou^rte, 844 

Entendyng Well, Mynystryng Equyte 

Twene ryght & wrong, Hoole Indyfferency, 

And Laboryng the S(^ruyce of God to Multyply, 847 



26 



The I 'iriues. 



Virtue refuses 
some captains, 
Nigromancy, 
etc. 



who then 
choose Vice as 
their master 



Refuse of Rychesse >.^ Worldlv Vevnglory, S4S 

P^-/-feccion, w/t// Parfyte Contemplacion, 
Relygyon, Profession well kept in IMemorv, 

Verrey Drede of God, with Holy Pre'dvcacion, 85 1 
Celestiall Sapience, with Goostly Inspiracion ; 
Grace was the guyde of all thys gret mevnv. 
Whom folowyd Konnyng with hys genalogy — 854 

That ys to sey, Grauu-r. and Sophystrv, 855 

Philosophy Naturall, Logyk, & Rethoryk, 
Arsmetry, Geometry with Astronomv, 

Canon & Cyuyle, melodyous Musvk, 858 

Nobyll Theology, and Corporall Physyk, 
Moralizacion of Holv Scripture, 
Profounde Poetrv and Drawvng of Picture — 861 
124 
These folowyd Konnyng & thedyr with hvm came, 86 2 

W/t// many oon moo offrvng her struyce 
To Wrtew at that nede; but natvv/t//standvng than 

Som he refusvd and seyde in nowvse 865 

They shuld with hym go, and, as 1 coude auyse. 
These were her names: fyrst, Nvgromansy, 
Geomansy, Magyk, and Glotony, 868 

1-5 
Adryomancy, Ornoniancy, with Pvroniancv, S69 

Fvsenamy also, and Pawmestry, 
And all her sequelys, yef I shult nat ly. 

Yet Konnyng prayed Yertn he wold nat denv 872 
Thevm for to know nor dysdeyne with hys ey 
On hem to loke, wherto W/tew grauntyd. 
How [be] hit in hys werres he wold nat /ey hau«tvd. 8 7 5 
126 
So had thev Connyng lyghtly to depart 876 

From V(i'rtew hys felde, and they seyng thys 
By comon assent hyryd theym a cart 

And made hem be caryed toward Vyce y-wys. 879 

Fro thensforth to s<'rue hym they wold nat mys. 
Full lothe they were to he mastyrles: 
In stede of the bettvf the worse thef thev ches. 88 2 



The Virtues. 



27 



127 
But foorth to relese all the remenaunt 

Of pety capteyns that whh V^'rtu were, 
Moderat Dyete, & Wysdom auenaunt, 

Euyn Wyght & Mesure, Ware of Contagious Geere, 886 
Lothe to Offende, and Louyng ay to Lere, 
Worshyp, & Profyt, w/t/i Myrthe in Manere, 
These pety capteyns whh V^rtew were in fere. 889 
128 
Comones hem folowyd a gret multitude. 890 

But in [comparyson] to that other syde 
I trow ther was nat, brefely to conclude, 

The x"" man that batayll to abyde. 893 

Yet neu^Athelese, I shall nat fro yow hvde 

What man<fr pepyll they were & of what secte. 
As neere as my wyt therto wyll me dyrecte. 896 

129 
Ther were notable and famous doctours, 897 

Example yeuers of lyuyng gracyous, 
P^?-petuell prestes and dyscrete confessours, 

Of Holy Scriptur declares fructuous, 900 

Rebukers of synne & myschef^i' odyous, 
Fysshers of fowles, & lovers of clennes, 
Dyspysers of veyii & worldly ryches, 903 

130 
Pesyble prdates, iustyciall gou<'/-nours, 904 

Founders of churches, with xnercsiwW peeres, 
Reformers of wrong of her progenitours 

On peynfull poore pyteous coinpassioners, 907 

Well menyng mifrchauntifj-, w/t// trew artyfyceres, 
Vyrgyns pure, and also innocent^j, 
Hooly matronys, w/t/i chaste contynent^i', 910 

Pylgrvms, & palmers, w/t// trew laborers, 911 

Hooly heremytes, godd^i" solycitours, 
Monasteriall monkes, & well dysposyd freres, 

Chanons, & nonnes, feythfull professoures, 914 

Of worldly peple trew coniugatoures, 
Louers of Cryst, con founders of yll, 
And all that to godward yeue her good wvll, 917 



Other minor 
captains with 
Virtue are 
Moderate 
Diet, etc. 



A great 
multitude of 
commons 
follows, yet 
numbering no 
one-tenth of 
Vice's host. 



There are 
famous 
doctors etc. 



28 



The Virtues; the Field, 



The name of 
the field is 
Microcosm. 



In the midst 
is Conscience, 
the judge of 
the combat. 



Five highways 
lead to the 
field. 



Thither Virtue 
hastens. 



Meanwhile 
Original 
Sin had 
reported to 
Vice. 



132 

Mayntenours of ryght, verrey penytent^j-, 91 8 

Distroyers of errour, causers of Vnyte, 
Trew actyf lyuers that set her entent^^- 

The dedes to pi?/'-forme of m^rcy and pyte, 921 

Contemplatyf peple that desyre to be 
Solytary %ervi2aiw\.es vnto God alone, 
Rather then to haboundeinrychesse eui?rychone. 924 

133 
These, w/th many mo then I reherse can, 925 

Were come thedyr redy that batayll to abyde, 
And take such part as fyll to V^rtew than. 

Vyce to ou^rcome they hopyd for all hys pryde, 928 
All though that he had more pepyll on hys syde. 
For the men that V<'/-tu had were full sewre 
To trust on at Nede & Konnyng in armure. 931 

134 
Macrocosme was the name of the felde 932 

Where thys gret bataylewas set for to be. 
In the myddes therof stood Conscience, & behelde 
Whyche of hem shuld be brought to captyuyte. 935 
Of that nobyll tryuwphe iuge wold he be. 

Synderesys sate \\ym w/t//yn closyd as in a parke, 
W/t/i! hys tables in hys hand her dedys to marke. 938 

135 
To come in to the felde were hygh weyes fyue, 939 

Free to bothe partyes, large, broode and wyde. 
Vertu wold nat tary, but hyghyd hym thydyr blyue, 
Lest he were by Vyce deceuyd at that tyde. 942 

Long out of the felde lothe he was to abyde, 
In auentur that he out of hyt were nat kept, 
For then wolde he haue thought he had to long slept. 
136 
In thys mene tyme whyle V^rtu thus preuydyd 946 

For hym and hys pepyll the feld for to wynne, 
He chargyd eu^ry man by Grace to be guydyd. 

And all that eu^r myght the felde to entre ynne. 949 
In all that sesoii went Orygynall Synne 

To lete Vyce know how Baptym, \^iX.h hys cost. 
Had entry d Macrocosme & serchyd eu^rry coost. 952 



The Battle of tlic Vices and Virtues. 



29 



137 
"A," seyde Vyce, " than I se well hit ys tyme 953 

Ban^rs to dyspLiy & standardvs to auaunce. 
Allmost to long haddyst thow taryed, Cryme, 

To let vs haue knowlege of thys puruyaunce. 956 

Yet I trow I shall lerne hem a new daunce. 
Wherfore I co;«niaunde yow all w/t//out delay 
Toward the felde drawe, in all the haste ye may." 959 
138 
Then seyde the god Pluto that all men myght here, 960 

" Vyce, I the charge, as thow wylt eschew 
Our heynous indignacion, thow draw nat arere 

But put the forthe boldly to ou.?/-throw V^rtew." 963 
"In feythe," quoth Attropos, "and I shall aftyr sew 
For yef he escape your handys thys day, 
I tell yow my stvuyce haue ye lost for ay." 966 

139 
Forthe then rode Vyce w/t// all hys hoole streyngth, 967 

On hys steede Sifrpentyfi, as I tolde yow before. 
The oost that hym folowyd was of a gret leyngth. 

Among whom were penowns & guytornes many a score. 
But as he went thederward — I shall tell yow more 
Of hys pety capteyns — he made many a knyght, 
For they shuld nat fle but manly wilh hym fyght. 973 
140 
He dubbyd Falshood, w/t// Dyssymulacion, 974 

Symony, Vsure, Wrong, and Rebawdy, 
Malyce, Deceyte, Ly, w/t/i Extorcion, 

PdTiury, Diffidence, and Apostasy, 977 

W/t/z Boldnesse in Yll to bere hem company — 
These xiiii knyght^j' made Vyce that day ; 
To Wynne theyr spores they seyde they wold asay. 
141 
In lyke wyse, Vertew dubbyd on hys syde 981 

Of hys pety capteynes other fourtene, 
Whyche made her avowe w/t/; hym to abyde. 

Her spores wold they wynne pai day, hit shuld be sene 
These were her names, yef hit be as I wene : 

Feythe, Hope and M^rcy, Trouthe, & also Ryght, 
W/t/^ Resystence of Wrong, a full hardy wyght, 987 



Vice com- 
mands the 
standards to 
advance. 



Pluto charges 
Vice to over- 
throw Virtue. 



If he fail, 
Atropos 
threatens to 
withdraw his 
service. 



Vice and his 
host advance. 



As they 
march Vice 
dubs fourteen 
knights, 
Falsehood, etc 



Virtue makes 
a similar 
number, 
Faith, etc. 



30 



The Battle of the Vices and Virtues. 



The lord of 
Microcosm 
is Freewill, to 
whom Virtue 
sends three 
ambassadors 
to sue his 
favor. 



In like wise 
Vice sends 
three. 



Freewill gives 
an ambiguous 
answer. 



Vice sends 
forth as a spy 
Sensuality, 



142 

Confession, Contricion, with Satisfaccion, 988 

Verrey Drede of God, Performyng of Penaunce, 
P^rfeccyon, Konnyng, and Good Dysposicion. 

And all knyt to Yertu they were by allyaunce. 991 

Wherfore to hym they made assewraunce. 
That felde to kepe as long as they myght 
And in hys quarell ageyn Vyce to fyght. 994 

143 
The Lord of Macrocosme and rewler of that fee 995 

Was callyd Frewyll, chaunger of the chaunse, 
To whom V^rtew sent embassatours three, 

Reson, Discresion, & Good Remembraunse, 998 

And prayed hym be fauorable hys honour to enhaunse, 

For but he had hys iscwour at that poynt of nede 

He stoode in gret doute he coude nat lyghtly spede. 

144 

In lyke wyse, Vyce embassatours thre, 1002 

[For hys party, vnto Frewyll sent, 
Temptacion, Foly, & Sensualyte, 

Praying hym of izuour that he wold assent 1005 

To hytn, as he wolde at hys cowzmaundment 
Haue hym, eftsones, when he lyst to call 
Oil hym for any thyng pat aftyrward myght fall. 1008 

145 
Answere yaue he noon to neyther party, 1009 

Saue oonly he seyde the batayle wold he se. 
To wete whyche of hem shuld haue the victory, 

Hit hyng in hys balaunce the ambyguyte. 10 12 

He seyde he wold nat restrayne hys lyberte. 
When he come where sorow shuld awake, 
Then hit shuld be know what part he woll take. 1015 
146 
Whan V^rtew and Vyce, be her embassatours, 10 16 

Knew of thys answere, they stood in gret doute. 
Neu^rthelese, they seyde they wold endure tho shoures 
And make an ende shortly of that they went aboute. 
So forthe came Vyce w/t/? all hys gret route. 
Er he came at the felde he sent yet pryuyly 
Sensualyte before, in man<?;- of a spy, 1022 



The Battle of the Vices and Virtues. 



31 



147 



1023 



1026 



[day. 



Whyche sewe the felde w/t// hys vnkynde seede 
That causyd Vertu aftyr mykyll woo to feele. 
For therof grew nought but all oonly weede, 
Whyche made the grounde as slepyr as an yele. 
He went ayene to Vyce and told hym eu^ry dele 
How he had done, and bade hym com away 
For he had so purueyde that Vyce shuld haue the 
148 
Soo, as hit happyd, at the felde they mete, 1030 

Freewyll, V^rtew & Vyce, as trypartyte, 
Safe V^Ttew a lytell before the felde had gete, 

And elles hys auauntage forsothe had he full lyght 
Nat for then encombryd so was neu^r wyght 

As V^rtew and hys men were with the ranke wede 
That in the felde grew of Sensualytees sede. 1036 
149 
But as sone as Vyce of Vertu had a syght. 

He gan swage gonnes as he had be woode. 
That heryng, V^/-tew cowmaundyd Qwery wyght 
To pauyse hym vndyr the sygne of the roode. 
And bad hem nat drede but kepe styll wher they stoode. 
Hyt wasbutashoure shuld soone confound, [grou^/d. 
Wherfore he coz-'/maundyd they;// stand & kepe her 

150 
And when Vyce came nerer to the felde, 1044 

He callyd soore for bowes and bade hem shote faste. 
But V^rtew and hys meyny bare of w/t/i the shelde 
Of the blessyd Trynyte ay tyll shot was paste. 1047 
And when shot was dooii, Vyce came forthe at laste, 
Purposyng the felde w/'t// assawte to wyn. [theryn. 
But VdTtew kept hit long — he myght nat entyr 

151 
All that tyme Frewyll & hyfh bethought 105 1 

To whyche he myght leue & what part he wold take. 
At last Sensualyte had hym so fer brought 

That he seyde pleynly he Vertu wold forsake, 1054 
And in Vyce hys quarell all hys power make. 

"Y-wis," quoth Reason, "that ys nat for the beste." 
" No forse," seyde Frewyll, "I wyll do as my lyste." 



1037 



1040 



who sows the 
field with 
wicked seed of 
weeds. 



Virtue's men 
are 

encumbered 
by Sensu- 
ality's weeds. 



Virtue com- 
mands every 
man to pause 
under the sign 
of the cross. 



They ward off 
the shots of 
Vice by the 
shield of the 
Holy Trinity, 



Vice proposes 
to make 
assault. 



Freewill 
inclines to the 
side of Vice. 



32 



The Battle of tlie J 'ices and Virtues. 



Virtue is 
compelled to 
retreat. 



Baptism, 
Faith, Hope 
and others 
hold their 
ground. 



152 

Vertu was full heuy, when he sv Frewvll 1058 

Take part with \'vce, but vet neufvthelesse 
He dyd that he iiiyght the felde to kepe styll. 

Tyll Vyce, w/t// Frewyll, so sore gan hym oppresse 
That he was constrevnvd clerely bv duresse 
A lytyll tyne abak to make abew retret. 
All thyng consyderyd hit was the best feet. 1064 

Furst to remembre how Vvces part was 1065 

Ten ayene ooii strengor by lyklynes, 
And than how Frewvll was w/t// hvni alias, 

Whoo cowde denie V^vtew but in heuynes; 106S 

Moreou^^-r to thvnke how that slvper gres, 
That of Sensualyte hvs vnkvnde seede grew 
Vndyr foote in standvng encombrvd "Wrtew. 107 1 

154 
Yet natw/t//standyng, V^rtew hys men all 1072 

NobuUy theyw bare and faught myghtyly. 
Howe be hyt, the slepyr grasse made many of hem fall, 
And from thense in man^v depart sodevnlv. lO/S 

That seyng, Vyce hys oost began to showt and cry 
And seyde, "On in Pluto name I On ! & all vs owre! 
For thvs dav shall Vvce be made a conquero/^r !" 

155 
Thus Vertew was by myght of Vyce & Frewvll 1079 

Dreuen out of the felde — hit was the more pyte. 
Howe be hit, yet Baptym kept hys ground stvll. 

And \\i\h hym aboode Fevthe, Hoope and Unyte, 1082 
And Kunnyng also, \yi\h comons a gret mevne, 
Confessyon, Contricion were redy at her hande, 
And Satvsfaccion, Vyce to wythstande. 10S5 

" 156 
But all the tvme whvle V^'rtew was awav 1086 

A mvghtv conflvcte kept they w/t// Vyce his rowte, 
And yet neurrthelese for all that gret affray 

Hoope stood vpryght&Feythe woldneu^r lowte; 1089 
And eu<;-rmore seyd Baptym, "Syres put no dowte 
Vertu shall retorne & haue hys entente. 
Thvs felde shalbe our &: elles let me be shent." 



The Battle of the Vices and Jlrtues. 33 

157 
And whyle these pety-capteynes susteynydthus the feelde, Virtue is 

•^ I J f J J J reinforced by 

W^t// V(?rtew hys rerewarde came Good P^'rseueraunce, Perseverance 

who chides 

An hogy myghty hoost, & when he behelde him for his 

retreat. 

How Vif/'tew hym w/t//drew he toke dysplesaunce, 1096 
And when he to hym came he seyde, "Ye shall yoz/r chaunce 
Take as hit falleth, wheffore returne ye must. 
Yet Gonys for your sake wiih Vyce shall I iust. 1099 
158' 
"Alias that euer ye shuld leese thus yo//r honour, iioo 

And thefw/t/i also, the hygh p<?/-petuell crowne, 
Whyche ys for yow kept in the celestiall tour. 

Wherfore be ye callyd Crist^j" Champyon? 1103 

Howys hit that ye haue no compassyon 

On Baptym, Feythe, & Hoope, Konnyng, & Vnyte, 
That stant so harde be stadde & fyght as ye may see? 

159 
"All the tresouf erthely vndyr the fyrmament, 1 107 

That &\xer was made of goddes creacion 
To rewarde theym euynly, were nat equyualent 

For her noble labo/^r in hys afiflyccion. mo 

Wherfore take vppon yow your iurysdyccion. 
Rescu yondyr knyghtci' & recontynu fyght. 
And elles adew your crowne for all yo//r gret meryt." 
160 
\Ni\.h these & suche wordys, as I haue yow tolde, 11 14 

By good P^rseu^raunce vttryd in thys wyse, t^'?he*sTruggie 

Vertu hym remembryd & gan to wex bolde 

And seyd, "Yeue trew knyght^'i- to rescu I auyse. 11 17 
Let vs no lengor tary from thys entrepryse." 
Agayfi to the felde so V(?rtew retornyd. 
That causyd hem be mery^d^t long afore had mornyd. 
161 
" Avaunt baner," qucth he, " in the name of Ih«u." 1121 in the name of 

And wkh that hys pepyll set vp a gret showte 
And cryed w/t/z a lowde voyce, " A V^rtew 1 A V^rtew!" 
Then began Vyce hys hooste for to loke abowte, 11 24 
But I trowe P^rseu^raunce was nat long w/t/^owte 
He bathyd hys swerde in hys foes blood. 
The boldyst of hem all nat oonys hvm w/t//stood. 



34 



The Victory of Virtue. 



They are 
victorious. 



Freewill comes 
to Conscience 
to repent and 
asks counsel ; 



Conscience 
sends him to 
Humility, 



Humility to 
Confession ; 



thence to 
Contrition, 



Satisfaction, 
and lastly to 
Penance. 



Vice is carried 
from the field, 
meeting 
Despair who 
fetches his 
reward. 



Alpha and 
Omega 
despatch from 
the heavens 
two goodly 
ladies ; one 
named 
Prescience to 
chastise Vice 
and his host; 



162 

Constaunce hym folowyd & brought \\\m hvs spere. 11 28 

But when Pd-rseueraunce saw Vyce on hvs stede, 
No man cowde hym let tyll he came there. 

For to byd hym ryde, I trow hit was no nede. 1131 
All Vfc'rtew hys ost prayde for hys good spede. 
Agayn Vyce he roode w/t/^ hys gret shaft 
And hym ou^rthrew for all hys sotyll craft. 1134 

163 
That seyng, Frewyll came to Conscience, 1135 

And gan hym to repent that he w/t// hvw had bee, 
.Praying hym of counsell for hys gret offence 

That he agayii V^rtew had made hys armee, 1138 

What was best to do. "To Humylyte," [sent 

Quoth Conscience," must ^i^u go." So he hvmthedvr 

Disguysyd that he were nat knowen as he went. 1141 

164 

And when he thedvr came, Humylyte hym took 1142 

A token, & bad hym go to Confessyon, 
And shew hym hys mater w/t// a peteous look. 

Whyche doon he hym sent to Contrycion, 1145 

And fro thensforth to Satysfaccion. 

Thus fro poost to pylo//-^ was he made to daunce, 
And at the last he went forthe to Penaunce. 1148 

165 
But now for to tell 3'ow — -when Vyce was ou^rthrow 1 149 

A gret parte of his oost about hym gan resorte. 
But he was so febyll that he cowde no man know. 

And when they sy paX they knew no comforte, 1152 
But caryed hym awey be a pryuy porte. 

And as they hym caryed Dyspeyre \\i\.h hy;« met ; 
W/t// Vyce hys reward he came they/« for to fet. 1 155 
166 
Then came the? downe goodly ladyes tweyne, 1156 

From the hygh heuyn aboue the firmament, 
And seyde the gret Alpha & Oo, most souereyne. 

For that nobyll tryu/;/phe, had hem thedyr sent ; 1 1 59 
Oofi of hem to dryue Vyce to gret torment 

W/t// a fyry scourge that she bare in her hande. 
And so he dede dyspeyre and all his hoole bande. 



Rewards and Punishments, 35 

167 
The name of thys lady was callyd Prescience. 116'^ shepursues 

them through 

She neu.?r left Vyce, ne noon that wold hym folow, the gate of 

Tyll they wer cowmyttyd by the diuine sentence 

All to peyne p^rpetuell and infynyte sorow. 1166 

Ryghtwysnes went to see that no man shuld hem borow. 
Thus all entretyd sharpely were they, tyll Cerberus 
Had hem beshut w/t//yn hys gates tenebrus. 1169 
168 
And all the whyle that Prescience w/t// her scorge smert 

To rewarde Vyce gan hyr thus occupy, The other lady 

J ^ J rj' bears to Virtue 

Wzt^ all hys hoole bende, aftyr her desert, the palm of 

victory. 

That other gloryous lady that came fro heuy n on hy, 1 1 7 3 
Hauyng in her hande the palme of vyctory, 

Came downe to Vifrtu and toke hyw to that present, 
Seying thus that Alpha & Oo haue hym sent. 11 76 
169 
And as ferre as I aryght cowde vndyrstand ii77 Her name is 

•"^ ■' ' ' Predestina- 

That ladyes name was Predestinacion. t'on; she 

•^ grants them a 

V<?rtu & hys boost she blessyd wt't/i her hand heavenly 

■^ •' habitation. 

And in heuen grauntyd hem habitacion, 1180 

Where to eche of hem res^'ruyd was a crown. 
She seyde, in token that they enherytours 
Of the glory were and gracious conquerours. 1183 
1 70 
Whyche dooii, thoo ladyes ayene togedyr met 11 84 which done, 

And toward heuyn vp they gan to [fly], ''^p^" 

Embrasyd in armes as they had be knet 

Togedyr wh/i a gyrdyll ; but so sodenly 11 87 

As they were vanysshyd saw I neuer thyng wt't/i ey. 

And anon V^rtew wiU all hys company histThrnk '''' 

Knelyd down and thankyd God of that vyctory. 1 190 ^icfo^' '^^ 
171 
Yet had I foryete when Vyce was ou^rthrow 1191 

To haue tolde yow how many of Vyce hys oost h°'"le^i7''^*'^ 

Gan to seek Peese, and darkyd downe full low, f'^^'^^V- 

.' ' beseeching 

And besought Mercy, what so euer hys cost, iiQ4 mercy to plead 

o .' ' ^ ' -'^ to Virtue, or 

To be her mene to Yerte-w, elles they were but lost. Ho'e'""^ 
And som in lyke wyse to Feythe & Hoope sought 
What to do, for peese they seyde they ne rought. 1 197 



Repentance of the Vices. 



or Baptism. 



All must go to 
Confession. 



Some seek 
Circumcision 
who bids them 
go to I'aith ; 
he to Baptism 
and Virtue by 
process. 



Virtue 
commands 
Freewill to 
come near 



and charges 
him for taking 
Vice's part. 



Freewill lays 
the blame 



upon 
Sensuality. 



Som also to Baptviu sewvd to be her niene ; 1198 

Soiii to con, soiii to other, as thev hem gete mvght. 
But all to Confession went to make hem dene. [Ivght, 
And as thev came by Conscience he the3-m bad goo 
Ef than olde Attropos of hem had a syght. 

For yef he so they/// tooke lost thev were for eu<fr. 
He seyde Vyce to forsake ys bettyr late then neu<?r. 

173 
Som eke for socour drew to Circu///cvsion, 1205 

But bv hvm cowde they gete but small fauo///-, 
For he in that company was had but in dervsion. 

Neutvthelese to Fevthe he bade hem go labo///-, 1 208 
Praving they/// for olde acqueyntance they/// soco//r. 
" Well," quoth Feythe, " for hys sake, I shall do that I 
But furst for the best wev Baptym go ye to. [mav do 

174 
"For by hv/// sonnest shull ye recou^v grace, 1212 

Whvche shall to V^rtu bryng yow by processe ; 
Wherfore in any wyse looke ye make good face, 

And let no man know of your heuynes." 1215 

So thev were by Baptym brought out of dystres — 
Turnvd all to V^vtew ; & when thys was doon, 
Vt'rtu co///maundvd FrewvU before hvni coin. 



175 



1218 



1219 



To whom thus he seyde, " I haue gret m^vuayll 

Ye durst be so bolde Vyces part to take. 
Who bade vow do so &: yaue yow that counsayll ? 

lustly vnto that ye shall me pryuy make." 1222 

Then seyde Frewyll & swemfully spake, 
Knelvng on hys kne w/'t// a chere benygne, 
'•I prav yow, syf, let pyte your eares to me enclyne 
176 
"And I shall yow tell the v^vrey sothe of all, 1226 

Howe hit was, & who made me that wev drawe. 
For sothe, Sensualite, hys pr^pre name thev call." 
"A," seyde Reason, "then I know well that felawe. 
Wylde he vs &; wanton, of me stant hvm noon awe." 
" Ys he soo ?" q//^d V<'/-tu. " well he shalbe taught 
As a pleyef shuld to drawe another draught." 1232 



Virtue's Judgjuents. 37 

177 
And w/t/z that came Sadnesse w/t/i hys sobre chere, 1233 Sadness brings 

Sensuality 

Bryngyng Sensualyte, beyng full of thought, prisoner to 

And seyde that he had take hyni prysonere. [sought. 

"A welcome!" seyde V,?rtew, "now haue I that I 
Blessyd be that good lord as thow wolde ys hit nought." 

" Why art thow so wantoun & wylde," he seyde, " for shame ! 
Er thow go at large thow shalt be made more tame. 
178 
" But stande apart awhyle tyll I haue spoke a woorde 1 240 

W/t/i Frewyll a lytell, & then shalt thow know 
What shalbe thy finaunce ;" & then he seyde in boorde 

Vnto Frewyll, " The bende of your bowe 1243 reqJrM 

Begynneth to slake, but suche as ye haue sowe 
Must ye nedes reepe — the? ys noon other way. 
Natw/t/istandyng that let see what ye can say. 1 246 
179 
"What ys yoz^r habylyte me to recompense 1247 

For the gret harme that ye to me haue do?" recompense 

o -^ from Freewill. 

" Forsothe," seyd Frewyll in opyn audyense, 

"But oonly Macrocosme more haue I nat lo. 1250 Freewill 

agrees to 

Take that, yef hit plese yow, I wyll that hit be so. deliver 

-ir f T J J u J 1 J ), Microcosm 

Yef I may vndyrstand, ye be my good lorde. 
"In dede," seyde V^rtu, "to that wyll I acorde." 1253 
180 
Then made Vertu Reson hys lyeftenaunt, 12 1:4 which is given 

•' ^^ again to the 

And yaue hym a gret charge Macrocosme to kepe. charge of 

That doon, Sensualyte yelde hym recreaunt. Freewill. 

And began for to angre byttyrly to wepe. 1257 

For he demyd sewerly hys sorow shuld nat slepe. 
Then made Vertu Frewyll bayll[e] vndyr Reson, 
The felde for to occupy to hys behoue that seson. 1 260 
181 
And then seyde Vertu to Sensualyte, 1261 virtue orders 

," , , 1 1 r 11 Sensuality to 

"Thow shalt be rewardyd for thy besynesse. forsake his 

. 11 1- 1 fragility and 

Vndyr thys fourme all fragylyte be guided by 



Shalt thow forsake, bothe more & lesse, 1264 

And vnder the guydyng shalt thow be of Sadnesse. 
All though hit somewhat be ageyfi thy hert, 
Thy iugement ys yeuyn — thow shalt hit nat astert." 



Sadness. 



38 



Virtue's JuJgmoits. 



With that 
Nature enters, 
protesting that 
Sensuality, 
her servant, 
should be 
given liberty. 



Virtue grants 
Sensuality 
freedom within 
Microcosm 
under the 
restraint of 
Sadness. 



This done. 
Virtue sees 
Morpheus 
standing by, 



and thanks 
him for his 
troth and labor. 



He is given 
care of the five 
gates. 



1S2 

And euen w/t// that came in Dame Nature, 1268 

Saying thus to V^;''tew, " Syr ye do me wrong 
By duresse & constreynt to put th3's creature, 

Gentyll Sensualyte, that hath me S(?/-uyd long, 1271 
Cleerly from hys liberte, & set hy/« among 

They/// that loue hym nat, to be her vnderlowte. 
As hit were a castaway or a shoo clowte. 1274 

183 
"And, parde, ye know well a rewle haue I must 1275 

Withyn Macrocosme; forsoth, I sey nat nay." 
Quoth V<7tu, '• But Sensualyte shall nat p^rformeyo//'r lust 
Lyke as he hath do before thys, yef I may. 12 78 

Therfro hym restrayfi Sadnesse shall assay. 
Howe be hit, ye shall haue your hoole lyberte 
W/t//yn Macrocosme, as ye haue had, fre." 1281 

184 
And when V^vtu had to Nature sevd thus, 1282 

A lytyll tyne hys ey castyng hym besyde. 
He sy in a cornier standyng, Morpheus, 

That hy/// before warnyd of the verryly tyde. 12S5 

"A syres," seyd Vertu, "yet we must abyde. 
Here ys a frende of owre may nat be foryete. 
Aftyr hys desert we shall hym entrete." 1288 

1 85 
"Morpheus," seyd Vertu, "I thanke yow hertyly 12S9 

For your trew hert & your gret labour, 
That ye lyst to come to me soo redyly, 

When ye undyrstood the co///myng of that shour. 1292 
I thanke God & yow of sauyng of myfi bono///-. 
Wherfore thys pryuylege now to you I graunt, 
That w/t//yn Macrocosme ye shall haue your haunt. 
186 
"And of fyue posternes the keyes shall ye kepe, 1296 

Lettyng in and out at hem whom ye lyst, 
As long as in Macrocosme your fadyr woll crepe. 

Blere whos ey ye woll hardyly whh your myst, 1299 
And kepe your werkes close there as in a chyst. 

Safe I wold desyre yoAv spare Pollucion, [cioii." 

For nothyng may me plese that sowneth to corrup- 



Complaint of A tropes. 39 

187 
And when he had thus seyde, pQ keyes he hym tooke, 1303 

And toward hys castell w/t/; hys pepyll went, virtue and his 

people leave 

Byddyng Reason take good heede & about looke, for the castle. 

That Sensualyte by Nature were nat shent. 1306 

"Kepe hym short," he seyde, "tyll hys lust be spent. 
For bettyr were a chylde to be vnbore, 
Then let hyt haue the wyll & for eut'r be lore." 1309 
188 
And when olde Attropos had seen & herde all thys, 1310 

How V^rtew had opteynyd, astonyed as he stood, 
He seyd to hymsylf, "Somwhat the? ys amys, com°[?iaiifs^to'" 

I trow well my patent be nat all good," 131 3 ' ^^° ^' 

And ran to the palyse as he had be wood, 
Seying to the goddr.s-, " I see ye do but iape, 
Aftyr a worthy whew haue ye made me gape. 1316 
189 
"Howe a deuyll w^ay shuld I Vertu ouif/throw, 1317 

When he dredyth nat all your hoole rowte ! 
How can ye make good your patent, wold I know. 

Hyt ys to iinpossybyll to bryng that abowte ; 1320 

For stryke hym may I nat — that ys out of dowte." 
"A, good Attropos," seyd god Apollo, 
"An answer conuenyent shalt thow haue herto. i ■\2X ^p°"° 

J 00 answers: 

190 

"The wordys of thy patent, dar I well say, 1324 His patent is 

Streche to no ferther but where dame Nature wfthin'the 

Hath iurisdiccion ; there to haue thy way, oTNature." 

And largesse to stryke as longeth to thy cure. 1327 tion of v^'^t'ue 

And as for Vertu he ys no creature for hlm.""^^ "° 

Vnder the pr^'dicament conteynyd of quantyte. 
Wherfore hys destruccion longeth nat to the." 1330 
191 
"A haa !" seyd Attropos, "then I se well 1331 

That all ye godd^^- be but counterfete. 
For 00 God the? ys that can eu^ry dell 

Turne as hym lyst, bothe dry & whete, I334 

In to whos S(?ruyce I shall assay to gete. 

And yef I may ones to hys s^ruyce come Atropos 

Your names shalbe put to oblyuyone." 1337 ^^^^^^ '° 



40 



Repulse of Residivacion. 



Meanwhile 
Residivacion, 
disguised like 
a pilgrim, 
makes his way 
to Micro- 
cosm. 



He becomes 
acquainted 
with Sensu- 
ality but is 
ordered by 
Reason to 
depart. 



No help is 
found in 
Nature. 



Residivacion 
leaves full of 
sorrow. 



Then Reason 
and Sadness 
clear the 
ground of the 
seeds of 
Sensuality. 



New grass 
springs up in a 
marvelous 
manner. 



192 

Thus went Attropos fro the paleyce wrooth. 1338 

But in the mene tyme, whyle that he there was, 
Glydyng by the palyce, Resydyuacion gooth 

Toward Macrocosme, w/t// a peyntyd fasc, 1341 

Clad lyke a pylgrym, walkyng a gret pase, 
In the forme as he had bene a man of Ynde. 
He wende haue made Reson & Sadnesse bo/e blynde. 

193 
W/t// Sensualyte was he soone aqueyntyd, ^345 

To whom he declaryd hys matyr pryuyly. 
Yet he was espyed for all hys face peyntyd. 

Then Reson hym cowmaundyd pyke \\\in thens lyghtly. 

"For hys ease," quoth Sadnes,"socounseyll hywwylll." 

So was Sensualyte ay kept vndyr foote, 

That to Resydyuacion myght he doo no boote. 1351 

194 

Then went he to Nature & askyd hyr auyse, 1352 

Hys entent to opteygne what was best to do. 
She seyde: " Eu(?r syth V^^rtew of Vyce wan the pryse, 
Reson w/t// Sadnes hath rewlyd the fylde so, 1355 

That I and Sensualyte may lytyll for the do. 
For I may no more but oonlykepe my cours. 
And yet ys Sensualyte strengor kept & wours." 1358 

195 
Thus heryng, Residiuacion fro thens he went ageyii, 1359 

Full of thought & sorow paX he myght nat spede. 
Then Reson & Sadnesse toke wede hokrj- tweyfi. 

And all wylde wantones out of the fylde gan wede, 1362 
W/t/i all the slyper grasse that grew of the sede 
That Sensualyte before theryn sew ; 
And for thens forthe kept hit clene for Vertew. 1365 
196 
Then began new gresse in the fylde to spryng, 1366 

All vnlyke that other, of colour fayre & bryght. 
But then I aspyed a m^ruelous thyng. 

For the grounde of the felde gan wex hoore & whyte. 
I cowde nat conceyue how that be mvght, 
Tyll I was enformyd & taught hit to know, 
But where Vertew occupyeth must nedys well grow. 



Atropos named Death. 



41 



197 
Yet in the mene tyme, whyle the fvlde thus grew, 1373 

And Reson wkh Sadnesse therof had gou<f/-naunce, 
Many a pryuy messyng^r thedyr sent V^rtew, 

To know yef hit were giiydyd to hys plesaunce ; 1376 
Now Prayer, efte Fastyng, & oftyn tyme Penaunce, 
And when he myght goo pryuyly, Ahnesdede, 
And bade hym to hys power heipe whef he sy nede. 
19S 
Whyle that fylde thus rewlyd Reson w/t/; Sadnes, 1380 

Mawgre Dame Nature for all her carnall myght, 
Came thedvr Attropos, voyde of all gladnes, 

AVrappyd in hys shete, & axyd yef any wyght 1383 

Cowde wysshe hym the wey to the Lorde of Lyght, 
Or ellys where men m.yght fynd Ryghtwysnesse. 
" Forsothe," seyde Reason, " I trow, as I gesse, 1 386 
199 
"At 'S[er\.^x hys castell ye may soone hym fynde, 1387 

Yef ye lyst p^ labo/zr thedyr to take, 
And there shall ye know, yef ye be nat blynde, 

The next wey to the Lorde of Lyght, I vndyrtake." 1390 
So thedyr went Attropos, peticion to make 
To Ryghtwysnes, praying that he myght 
Be take in to the S("ruyce of the Lord of Lyght. 1393 
200 
" What," seyde Ryghtwysnes, " thow olde dotyng foole, 

Whome hast thow si^ruyd syth the world began 
But oonly hym? Where hast thow go to scoole? 

Whether art thow double, or elles the same man 1397 
That thow were furst?" "A syr," seyde he than, 
" I pray yow hertyly holde me excusyd. 
I am olde & febyll; my y^'xWes ar dysvsyd." 1400 
201 
"Well," seyde Ryghtwysnes, " for as moche as thow 1401 

Knowest nat thy mastyr, thy name shall I chaunge. 
Dethe shalt thow be callyd, from hens forward now% 
Among all thepepyll thow shalt be had straunge. 1404 
But when thow begynnest to make thy chalaunge, 
Dredde shalt thow be, wher so thow become, 
And to no creature shalt thow be welcome. 1407 



Virtue sends 
secret 

messengers to 
Microcosm. 



Atropos draws 
near and asks 
Reason the 
way to the 
Lord of Light. 



He is directed 
to Virtue's 
castle. 



Atropos seeks 
from 

Righteousness 
to serve the 
Lord of Light. 



He is assured 
by Righteous- 
ness that the 
Lord is his 
master. 



His name is 
changed to 
DEATH, and 
to no creature 
shall he be 
welcome. 



42 



TJic Rule of ]':rtuc. 



Those whom 
he formerly- 
served shall be 
put tooblivion. 



Death is given 
a placo in 
Microcosm. 



Virtue then 
despatches 
Priesthood to 
the field with 
the sacraments. 



"And as for theyni whom tliow dedvst serue, 140S 

For as moche as they p/rsume on hem to take 
That hygh name of God, they shall as they deserue 
Therfore be rewardvd, I dar vndvrtake, 141 1 

W/t// peyn p^-rpetiiell, among fend^'i' blake. 
And her names shall be put to oblvuyon 
Among men, but hit be in derysvon." 14 14 

2C3 

"A ha ! " sevde Attropos, " now begvn I wex gladde 141 5 

That I shall thus avengvd of hem be, 
Syth they so long tyme haue made me so madde." 
"Yee," quoth Rvghtwysnes, "here what I sey to the: 
The Lord of Lyght sent the worde bv me 
That in Macrocosme sesyne shalt thow take ; 
Wherfore thy darte redy loke thow make." 142 1 

204 
And as sone as Vertu that vndyrstood, 1422 

He seyde he was plesyd that hit shuld so be. 
And euyii forthew/t// he c<v;/maundyd Presthood 

To make hym redy the felde for to se. 1425 

Soo thedyr went Presthood w/t// benygnyte, 
Conueying thedyr the blessyd sacrament 
Of Eukaryst. But furst were theder sent 



1428 



205 



Previously had 
come thither 
Confession, 
etc. 



The field is 
cleansed 
within and 
without, and 
the Lord of 
Light is 
received with 
fitness. 



Confession, Contricion, and Satisfaccion, 1429 

Sorow for Synne, & gret Repentaunce, 
Holy Deuocion, w/t// Good Dysposicion — 

All these thedyr came & also Penaunce, 1432 

As her dewte was to make puruyaunce 

Ageyfi the co///myng of that blessyd Lorde. 
Fey the, Hoope, & Chary te therto were acorde. 1435 
206 
Reason wkh Sadnes dyd hys dylygence 1436 

To dense the fylde w/t/^yn & w/t/iout. 
And when they sy the bodyly presence 

Of that hooly Eukaryst, lowly gan they lowte. 1439 
So was that Lord receuyd, out of dowte, 

W/t/i all humble chere, debonayr & benygne, 
Lykly to hys plesure — hit was a gret sygne. 1442 



The Rule of Death. 



43 



207 
Then came to the fylde the mynystre fynall, 1443 

Called Holy Vnccion, w/t// a crysmatory. 
The V hygh weyes in especiall 

Therof he anoyntyd & made hit sanctuary. 1446 

Whom folowyd Dethe, whych wold nat tary 
Hys feruent power there to put in vre, 
As he was cowmaundyd, grauntyng Dame Nature. 
208 
He toke hys darte, callyd hys mortall launce, 1450 

And bent hys stroke toward the feldys herte. 
That seyng, Presthoode bade Good Remembraunce 
Toward the felde turne hy/« & aduerte. i453 

For except \vy7n all virtues thense must sterte. 
And euyn w/t/^ that, Dethe there sesyne took ; 
And then all the company clerelyhit forsook. 1456 
209 
And as sone as Dethe thus had sesyii take, i4S7 

The QoXour of the felde was chaungyd sodenly, 
The grasse theryn, seere as though hit had be bake. 
And the fyue hygh weyes were muryd opon hy, 1460 
That fro thensforward noon entre shuld therby. 
The posternes also were w/t/zout lette, 
Bothe inward & outward, fyn fast shette. 1463 

210 
Whyche dooii, sodenly Dethe vanysshyd away, 1464 

And Vertu exaltyd was aboue the firmament, 
Where he toke the crowne of glory that ys ay 

Preparate by Alpha & Oo omnipoten[t]. 1467 

The swete Frute of Macrocosme /edyr w/t/^ \\ym went. 

And on all thys mater as I stood musyng thus, 

Agayn fro the felde to me came Morpheus, 1470 

211 

Seying thus, " What chere ! howe lyketh the thys syght ? 

Hast thow sene ynowgh, or wyll thow se more ? " 
"Nay syr," I seyde," my trouthe I y5ow plyght, 

Thys ys suffysyent, yef I knew wherfore 1474 

Thvs was to me shewyd, for therof the lore 
Coueyte I to haue, yef I gete myght." 
"Folow me," quod he, "and haue thy delyght." 1477 



Holy Unction 
anoints the five 
highways. 



Then enters 
Death his 
power to try. 



None can 
resist. 



The grass 
becomes sere 
and the gates 

shut. 



Suddenly 
Death vanishes 
and Virtue is 
exalted above 
the firmament. 



To me musing 
again comes 
Morpheus. 



I ask 

Morpheus the 
meaning of the 
sight. 



44 



The School of Doctrine. 



I am brought 
to an arbor 
with four walls 



and admitted 
by Wit. 



It is the school 
of Doctrine. 



Doctrine is 
crowned with 
three crowns — 
I cannot tell 
you all. 



On one side 
sit Holy Text 
Glose and 
Moralization. 



Scripture 
serves as 
scribe. 



I look upon 
the walls 



So I hviu folowyd, tyll he had me brought 1478 

To a fouresquare herber wallyd round about. 
'"Loo," quoth Morpheus, "here mayst \\iO\\ pa\ pow sought 
Fynde, yef thow wyll, I put the out of dout." 14S1 
A lytyll whyle we stood styll there w/t/zout, 
Tyll Wytte, chyef porter of that herber gate, 
Requyryd by stody, let vs in ther ate. 1484 

213 
But when I came in I m^ruelyd gretly 1485 

Of that I behelde & herde there reporte. 
For furst, in a chayar, apparaylyd royally, 

There sate Dame Doctryne, her chyldren to exorte. 
And about her was many a sondry sorte ; 
Som wyllyng to lerne dyud'rse scyence. 
And som for to have periyte intellygence. 1491 

214 
Crownyd she was lyke an Emp^resse, 1492 

With iii crownes standyng on her hede on hy. 
All thyng about hyf an infynyte processe 

Were to declare, I tell yow certeynly. ^495 

Neu^v'thelese som in mynde therof haue I, 

Whyche I shall to yow, as God wyll yeue me grace, 
As I sawe & herde, tell in short space. 149S 

215 
Fast by Doctryne on that oon syde, ^499 

As I remembre, sate Holy Texte, 
That openyd hys mouthe to the pepyll wyde, 

But nat in comp<^?Aysoii to Glose that sate next. 1502 
Moralyzacion with a cloke context 

Sate ; & Scrypture was scrybe to they;;; all. 
He sate ay wrytyng of that that shuld fall. 1505 

216 
These were tho that I there knew — 1506 

By no man^v wey of olde aqueyntaunce. 
But as I before saw theym with V^'rtew 

Company in felde & hauyng dalyaunce. 1509 

And as I thus stood half in a traunce, 

Whyle they were occupyed in her besynesse, 
Abowte the walles myn ey gan I dresse. 151 2 



The School of Doctrine, 



45 



217 
Where I behelde the meruelous story 
That eu^r I vet saw in any pycture, 
For on tho walles was made memory 
Singlerly of eu^ry creature 
That there had byh, bothe forme and stature ; 
Whos names reherse I wyll, as I can 
Bryng theyw to mynde in ordre — eu<?ry man 
218 
Furst, to begyii, there was in portrature 

Adam ; & Eue holdyng an appyll round ; 
Noe in a shyp ; & Abraham hauyng sure 

A flynt stone in hys hand ; & Isaac lay bound 
On an hygh mount ; lacob slepyng sound, 
And a long laddyr stood hvm besyde ; 
Joseph in a cysterne was also there that tyde. 
219 
Next whom stood Moyses, w/tA hys tables two ; 

Aaron & Vrre, hys armes supportyng ; 
Ely in a brennyng chare was there also. 

And Elyze stood, clad in an hermyt^^ clothyng; 
Dauid w/t/i an harpe & a stoofi slyng. 
Isaye, leremy, and Ezechiell ; 
And closyd w/t/z lyons, holy Danyell ; 
220 
Abacuc, Mychee, w/t// Malachy ; 

And lonas out of a whales body cowmyng ; 
Samuell in a temple ; & holy Zakary 
Besyde an awter all blody standyng ; 
Osee w/t-^ ludyth stoode there conspyryng 
The dethe of Oloferne ; and Sal[a];;/!on also, 
A chylde w/t/t hys swerde dyuydyng in two. 
221 
Many moo pr^phetys certeynly there were, 

Whos names now come nat to my mynde. 
Melchisedech also aspyed I there, 

Bred & wyne offryng as fyll to hys kynde. 
loachym and Anne stood all behynde, 
Embrasyd in armes to the gyldyn gate. 
And holv lohfi Baptyst in a desert sate. 



I C I "J where is 

portrayed a 

marvelous 

story. 



I5IO 



I519 



1^20 First on one 
•-' wall in 

portraiture Is 
the story of 
Adam and 
Eve, Noah, 
J r 2 -J etc. (Old 
•^ ^ Testament) . 



1526 
1527 

1530 

1533 
1534 

1537 

1540 
I54I 

1544 

1547 



46 



The School of Doctrine. 



And now co///myth to my remembraunce 1548 

I am avysyd I saw Sodechv, 
And Amos also, w/t// sobre countenaunce, 

Standyng with her faces toward Sophony. 1551 

Neemv & Esdras bare hem company. 
The holv man loob as an impotent, 
Then folowyd in pycture w/t// Thoby pacyent. 1554 



Upon the 
opposite wall 
I see Peter, 
Paul, etc. 
(New Testa 
ment and 
Church 
Fathers). 



These, w/t// many mo, on that oon syde i555 

Of that grene herber portrayed were. 
"A," sevde Morpheous, "a lytyll tyme abvde. 

Turne thy face where thy bak was ere 155S 

And beholde well what thou seest there." 
Than I me turnyd as he me bade, 
W/t// hert stedefast &; countenaunce sade 1561 

224 
Where I saw Petyr, with hys keyes, stande; 1562 

Poule w/t// a swerde ; lames also 
W/t// a scalop ; & Thomas holdyng in hys hande 

A spere; & Phylyp aprochyd hym too. 1565 

lames, the lesse, next hem in pycture loo 
Stood, w/t// Bartylmew, whyche was all flayn. 
Symon & Thadee shewyd how they wereslayn. 1568 
225 
Mathy and Barnabe, drawyng lottys, stood. 1569 

Next whom was Marke, a lyon hym by 
Hys booke holdyng; & Mathew, in hys mood, 

Resemblyd an Aungell w/t// wyng^-j gloryosly. 1572 
Luke had a calfe to holde hys booke on hy. 
And lohii w/t// a cupp & palme in hys hande; 
An Egle bare hys booke — thus saw I hem stande. 
226 
Gregory and lerome, Austyn and Ambrose, 1576 

W/t// pylyons on her hedys, stood lyke doctours. 
Bernard w/t// Anselme, and, as I suppose, 

Thomas of Alquyii, &; Domynyk, confessours, 1579 
Benet, & Hew, relygyous gou^v-nours, 
Martyne, & lohn, w/t// bysshops twevne, 
Were there also, & Crysostom certeyne. 1582 



The School of Doctrine. 



47 



227 
Behynde all these was worshipfull Beede. 1583 

All behynde & next him stood Orygene, 
Hydyng hys face, as he of hys deede 

Had hem ashamyd — ye woot what I mene ; 1586 

For of txxour was he nat all clene. 

And on that syde stood there, last of all, 
The nobyll prcphetyssa, Sybyll men hyr call. 1589 
228 
Let me remembre me, now I yow pray, 1590 

My brayne ys so thynne, I deme in myfi hert 
Som of the felyshyp that I there say, 

In all thys whyle, have I oU(?rstert. ^593 

A benedycyte nooii ere cowde I aduert 

To thynke on Andrew the Apostyll w/t// hys crosse, 
Whom to forgete were a gret losse. 1596 

229 
Many oofi moo were jieyntyd on that wall, ^597 

Whos names now come nat to my remembraunce. 
But these I markyd in especiall. 

And moo cowde I tell, in contynuaunce 1600 

Of tyme, but forthe to shewe yow the substaunce 
Of thys matyr, in the myddcj- of that herbere, 
Sate Doctryne, coloryd as any crystal! clere. 1603 
230 
Crownyd as I tolde yow late here before, 1604 

Whos apparayll was worthe tresour infynyte — 
All erthely rychesse count I no more 

To that in comparyson valewyng then a myte. 1607 
Ouer her heede houyd a culuer fayre & whyte, 
Oute of whos byll procedvd a gret leme 
Downward to Doctryne, lyke a son beme. 1610 

231 
The wordys of Doctryne yaue gret redolence, 161 1 

In swetness of sauoz^r, to her dysciples all. 
Hyt ferre excedyd myrre and frankensence 

Or any other tre spyce or ellys gall. 1614 

And when she me aspyed, anon she gan me call. 

And C(?wmaundyd Morpheus that he shuld bryng me neere ; 
For she wolde me shew the effecte of my desyre. 161 7 



In the midst 
of the harbor 
sits Doctrine 
richly 
appareled. 



Over her head 
hovers a 
culver. 



Her words 
savor sweet. 



She bids me 
come near. 



48 



Doctrine' s Interpretation. 



Doctrine 
interprets the 
vision. 



Imprisonment 

of Eolus 

signifies that 

unbridled 

weahh 

increaseth 

misrule. 



Minos judges 
every man 
according to 
his wicked- 
ness. 



The complaint 
of Diana and 
Neptune 
against Eolus 
signifies the 
folly of fools 
in attempting 
the impossible. 



232 

She seyde, "I know the cause of thy cowmyng 1618 

Ys to vndyrstand, be luyn enfonnacion, 
Sensybly, the mater of Morpheus hys shewyng 

As he hath the ledde aboute in vysyon. 162 1 

Wherfore now I ai)[)ly thy naturall reson 
Vnto my wordys, &, er thow hens wende, 
Thow shalt hit know, begynnyng & ende. 1624 

233 
"Furst, where Eolus to Pluto was brought, 1625 

By hys owne neglygence takyn prysonere 
W/t/^yn the erthe : for he to ferre sought — 

Sygnyfyed ys noniore be that matere 1628 

But oonly to shew the howe hit dothe apere 
That welthe. vnbrydelyd dayly at thvne ey, 
Encreseth mysrewle & oft causyth foly. 1631 

234 
*' For lyke as Eolus, beyng at hys large, 1632 

Streytyd hyw sylf thorow his owne lewdenesse — 
For he wold deele where he had no charge — 

Ryght so wantons, by her wyldenesse, 1635 

Oft sythe bryng hem sylf in dystresse, 
Because they somtyme to largely deele. 
What may worse be suffryd than oucv mykyll weele 
235 
"By Mynos, the iuge of hell despcvate, 1639 

May he vndyrstand Goddi?.? ryghtwysnes, 
That to eur/-y wyght hys peyne deputate 

Assygneth, acordyng to hys wykydnes. 1642 

Wherfore he ys callyd luge of crewelnes. 
And as for Diana & Neptun/zj' cowpleynt, 
Fyguryd may be fooles reson feynte. 1645 

236 
"For lyke as they made her suggestion 1646 

To haue me Eolus from course of hys kynde 
Whyche was impossible to bryng to correccion, 

For eu^rmore hys liberte haue wyll the wynde. 1649 
In lyke wyse, fooles otherwhyle be blvnde, 
Wenyng to subdew, with her oofi hande, 
That ys ower mekyll for all an hoole lande. 1652 



Doctrine ' j- Interpreta tion . 



49 



237 
"But what foloweth therof that shall thow heere : 1653 

When they were come to the banket, 
The gret Apollo, w/t// hys sad chere. 

So fayre & curteysly gan theymentrete, 1656 

That he made her beerdys on the new gete. 
Loo, what wysdom dothe to a foole — 
Wherfore ar chyldren put to scoole. 1659 

238 
"Oft ys hit scene, w/t/; sobre contenaunce, 1660 

That wyse men fooles our/'come ay, 
Turnyng as hem lyst and all her varyaunce, 

Chau«ge from ernest in to mery play. 1663 

What were they bothe amendyd that day? 
When they were dreuyn to her ^n^XXcs ende. 
Were they nat fayne to graunt to be hys frende? 1666 

239 
"Ryght so fooles, when they haue dooii 1667 

All that they can, than be they fayne 
Yeue vp her mater to oblyuyofi. 

W/t/^out rewarde they haue no more brayne. 1670 

And yet full oft hath hit be seyne. 

When they hit haue foryete and set at nought, 
That they full deere haue aftyrward hit bought. 1673 
240 
"And as for all iho that rep;rsent 1674 

To be callyd goddys at that banket. 
Resemble false ydollys; but to thys entent 

Was Morpheous cowmaundyd thedyr the to fet, 1677 
That thow shuldest know the mani^;- & the get 
Of the paynym lawe and of her beleue. 
How false idolatry ledeth hem by the sleue. 1680 
241 
" For soone vppon the worldys creacion, i68r 

When Adam & Eue had broke the precept — 
Whyche clerk^x call the Tyme of Deuyacion, 

The worldly pepvll in paynym law slept, 1684 

Tyll Moyses vndyr God the tables of stone kept. 
In whyche tyme poetys feynyd many a fable 
Todyscrete reson ryght acceptable. 1687 



Apollo at his 
banquet 
causes their 
complaint to 
be forgotten. 



So fools give 
up theirmatter 
to oblivion. 



The Gods 
resemble false 
idols. 



In the begin- 
ning people 
slept in pagan 
law. 



The poets 
feigned many 
fables 



so Doctrine'' s Ititcrprctation. 

"And to the entent that thev should sownde i68S 

To the eares of hem tlie more plesauntlv 
givlfn ground That they shuld reede or here, p^x yaiie theyw a grounde 
cailedTods?""* ''^"'^ addyd names vnto theyw naturally: 1691 

Of whom they spake &: callvd hem godd^'j' hv, 
Som for the streyngthe & myght of her nature. 
And som for her sotvll wvttv coniecture. 1694 

243 
"By nature thus as the seuvn planettvs 1695 

Haue her p/vpre names bv astronomers. 
But goddys were they called by oold poetvs, 

For her gret feruency of wyrkyng in her speres — 1698 
E.\p<7yence preueth thvs at all yeres. 
And for as other that godd^-j- callvd be 
For sotyll wytte, that shall I teche the. 1701 

244 
"How thev bv that hvgh name of god came. 1702 

In thvs sevd tvme, the pepvll was so rude 
That what man<v creature, man or woman. 

Cowde any nouelte contryue & conclude 1705 

For the comon wele, all the multitude 

Of the comon peple a god shuld \\\m call, 
Or a goddesse, aftyr hit was fall 1708 

245 
"Of the same thvng that was so new founde — 1709 

SSs thmight to ^s Ceres, for she the craft of tylthe founde, 
productVf^^ Wherby more plenteuosly corne dyd habounde, 
t'heXe'"' The pepyll her callyd thorout eu.vy londe 171 2 

of'c^m."'^''"' Goddesse of Corne, wenyng in her honde 

Had levii all power of cornys habundaunce. 
Thus wer the pavnemes deceyuyd by ignoraunce. 
246 
Soisis, Pan, "In lyke manr/-, Isys was callyd the Goddesse 1716 

Of Frute, for she fyrst made hit multyply 
By the meane of gryffyng : and so by processe 

The name of Pan gan to deyfy. 1719 

For he furst founde the mene shepe to guy. 
Som tooke hit also bv her condicion 
As Pluto. Fortune. & suche other don. 1722 



etc. 



Doctrine'' s Interpretation. 



51 



247 
"Thus all that poetys put vndyr couerture 1723 

Of fable the rurall j)epyll hit took 
Propyrly as acta, refusyng the fygure ; 

Which errour som of hern neuer forsook. 1726 

Oft a false myrro/^r deceyueth a uiannys look, 
As thow mayst dayly prone at thyne ey. 
Thus were the paynyins deseuyd generally. 1729 

248 
"That seyng, the dedely enemy of niankynde, 173° 

By hys power p^rinyssyue, entryd the yiiiag^j 
W/t//yn the teiiij^les to make the pepyll blynde 

In her idolatry, standyng on hygh stag^'i' ; ^733 

In so moche, whoo vsyd daungerous passag^i'. 
Any man^r wey by watyr or be kmde. 
When hyd hys sacryfyce, hys answere redy founde. 
249 
"Thus duryng the Tyme of Deuyacion. I737 

From Adam to Moyses, was idolatry 
Thorow the world vsyd in comon opynyofi. 

These were the goddys that thow there sy. 1740 

And as for the awayters that stood hem by 
They polytvk philcsophyrs & poet^^i' were, 
Whyche feynyd the fables that I speke of here. 1743 



The gods at 
the banquet 
are the idols, 
the waiters are 
the poets and 
philosophers 
who feigned 
the fables. 



"Then sesyd the Tyme of Deuyacion, 1744 

When Moyses receuyd that tables of stone, 
Entryng the Tyme of Reuocacion. 

On the Mount of Synay, stondyng alone, i747 

God yaue hym myght avene all hys fone. 
And then began the Olde Testament 
Whyche to the pepyll by Moyses was sent. 1750 



The three 
times. 
Deviation, 
Revocation, 



"And that tyme duryd to the incarnacion 

Of Cryst, & then began hit to sese. 
For then came the Tyme of Reconsylyacion 
Of man to God — I tell the doutlese — 
When the Sofi of Man put hym in prese, 
Wylfully to suffre dethe for mankvnde. 
In holy scrypture thys mayst thow fynde. 



1751 



1754 



1757 



Reconcilia- 
tion, 



52 



Doctrine s Interpretation. 



are portrayed 
upon the walls. 



The time of 
Pilgrimage or 
of War is 
figured upon 
the fourth wall. 



This is 
signified by 
the battle 
between Vice 
and Virtue. 



252 

"Tliys Reconsylvacion was the Tynie of Grace, 1758 

When foundyd was the churche vppon tlie feyf stoon, 
And to ho-ly Petyr the key delyiwvvd was 

Of heiiyn ; then helle dvspcivled was anoon. 1761 

Thus was iiKinkviule delviuvvd from hvs fooii. • 
And then began the New Testament 
That the Crystyn pepyll beleue in p;rsent. 1764 

253 
"Whyche iii tyines, a sondry deuydyd, 1765 

Mayst thow here see, yef thow lyst beholde. 
The furst behynde the yn pycture ys prouydyd. 

The second of the lyft hande shewe pr^phet^'^ olde. 1 768 
The iii'^''" on the ryght hande here hit ys to the tolde. 
Thus hast thow in \vsyon the verrey fygure 
Of these iii tvmes here shewyd in purtrayture. 1771 

254 
"That ys to sey, furst, of Deuyacion 1772 

From Adam to Moyses, recordyng Scripture ; 
Secund, fro Moyses to the incarnacion 

Of Cryst kepeth Reuocac/ons cure. 1775 

And as for the thryd, thow mayst be vrrrey sure, 
Wyll dure from thens to the world<'.y ende. 
l>ut now tlie iiii"' must thow haue in mynde, 1778 
255 
" Whyche yscallyd p/v'purly, theTymeof Pylgremage 1779 

•Aftyr som ; & som name hit otherwyse 
And call hyt the Tyme of Daungerous Passage \ 

And som Tyme of Werre, that fully hyt dyspyse. 1782 
But what so hit be namyd, I woll the auyse — 

Remembre hit well and prynte hit in thy mynde, 
Whefof the fygure mayst thow me behynde. 1785 
256 
"And elles remembre thysylf in thyii hert, 1786 

Howe Vyce & V^'/tu dayly theyw occupy, 
In man^'r, ooii of hem hym to pirruert. 

Another, to bryng hym to endeles glory. 1789 

Thus they contynu fyght for the victory. 
Hyt ys no nede hefof to tell the moore, 
For in thys short vysyofi thow hast seen hit before. 



Doctrine' s Literpretaiion. 



53 



257 



1793 



1796 



1799 



1800 



1803 



"And as for Attropos greuous cowpleynt 

Vnto the goddt'^ betokeneth noiiiore 
But oonly to shewe the how frendely constreynt 
On a stedfast hert weyeth full soore. 
Good wyll requyreth good wyll ayene therfore. 
Dysc-orde to Dethe hathe ay byh a frende, 
For Dyscorde bryngeth many to her ende. 
258 
" Wherfore Dethe thought he wolde avengyd be 

Ofi hys frendrj- quarell yef that he myght, 
For her gret vnkyndnes, in so moche as she 
Was among hem all had so in despyte 
And at that banket made of so lyte; 

VVhyche causyd hyw among hem to cast in a boon, 
That found theyw gnawyng ynough eui^rychoofi. 1 806 

259 
"Thus oft ys seefi 00 frende for a nothef 

Wyll say & do & somtyme matyrs feyne ; 
And also kynnysmen, a cosyfi, or a brother, 
Woll for hys aly, ef he haue cause, compleyne. 
And where that he loueth do hys besy peyne, 
Hys frend<fj' matyf as hys owne to take, 
Whyche oft sythe causeth mochyll sorow awake. 1813 
2C0 
"Be hyt ryght or wrong, he changeth nat a myte- 18 14 

As toward that poynt he taketh lytell heede. 
So that he may haue hys froward appetyte 

P^/formyd, he careth nat howe hys soule speede, 1817 
Of God or deuyll have suche lytyll dreede. 
Howe be hyt, ooii the? ys pa\. Lorde ys of all, 
Whyche to eu^/-y wyght at last rewarde shall. 1820 
261 
"And as for the batayll betwene Vyce & V<';'-tew holde, 

So pleynly appereth to the inwardly. 
To make exposiciofi therof, new or olde. 

Were but sup^/'fluyte — therfore refuse hit I. 1824 

In man shall thow fynde that werre kept dayly, 
Lyke as thow hast seeii hit fowtvfi before thy face; 
The pyctuf me behynde shewyth hit in lytyll space. 



1807 



1810 



The complaint 
of Atropos 
signifies the 
constraint of 
friendship — 
Discord and 
Death. 



The alliance 
of friends often 
causes sorrow. 



The battle of 
Vice and 
Virtuesignifies 
the moral 
struggle in the 
human souL 



54 



Doctrine's Interpretation. 



Microcosm is 
the world of 
man. 



Perseverance 
betokens the 
continuance of 
virtuous 
living. 

Whoso 
perseveres is 
rewarded with 



Prescience and 
Predestination 
are the 
rewarders of 
vice and 
virtue. 



The five keys 
are man's five 
wits. 



Residivacion 
signifies the 
return of man 
to sin. 



Reason and 

Sadness 
prevent such 
conclusion. 



262 

"And as for Macrocosme, hit ys no more to say 1828 

But the lesse worlde, to the comon entent 
Whyche applyed ys to man both nyght and day — 

So ys man the felde to whyche all were sent 1831 

On both partyes; & they that thedyr went 
Sygnyfy nomore but aftyr the condicion 
Of enery mans opynyon. 1834 

263 
"And as for the nobyll knyght Pifrseueraunce, 1835 

Whyche gate the felde when hit was almost gooii, 
Betokeneth nomore but the contynuaunce 

Of v<?rtuous lyuyng tyll dethe hath ou^rgoon. 1838 
Who so wyll doo, rewardyd ys anon, 
As Vertu was vfiih the crowne on hy, 
Whyche ys nomore but eu^rlastyng glory. 1841 

264 
"And as for Prescience and Predestinacion, 1842 

That eche of hem rewardyd aftyr hys desert, 
Is to vndyrstond nomore but dampnacion 

To vycyous pepyll ys the verrey scourge smert 1845 
Rewarde; for they fro Yertu. wolde p^ruert. 
And endelese ioy ys to hem that be electe 
Rewardyd & to all that folow the same secte. 1848 
265 
"And as for the keyes of the posterns fyue, 1849 

Whyche were to Morpheus rewardyd for hys lahoi/r, 
Sygnyfy nat ellys but whyle man ys on lyue 

Hys V inwarde wytt^J shalbe euery houre 1852 

In hys slepe occupyed, in hele and in langoure, 
Wt't/i fantasyes, tryfyls, illusions & dremes, 
Whyche poetys call Morpheus stremes. 1855 

266 
"And as for Resydiuacion ys nomore to sey 1856 

But aftyr confessioii turnyng ayene to syn, 
Whyche to eui?ry man retorneth sauns deley 

To vycyous lyuyng ageyfi hym to wyn. 1859 

Whyle any man lyueth wyll hit neu^r blyn, 
That cursyd conclusion for to bryng abowte, 
But Resofi w/t/z Sadnes kepe hit styll owte. 1862 



Doctrine's Literpretation. 



55 



267 
"Here hast thow prc^purly the v^rrey sentence 1863 

Herde now declaryd of thys vysyon. 
The pycture also yeueth clere intellygence, 

Thefof beholdyn w/t/z good discresyoii. 1866 

Loke well aboute & take consyderasion, 
As I haue declaryd, whether hit so be." 
"A syr," quoth Morpheus, "what tolde I the! i86g 
268 
"Hast thow nat now thyne hert^j- desyre? 1870 

Loke on yon wall yonder before." 
And all that tyme stood I in a wyre 

Whyche way furst myn hert wold yeue more 1873 

To looke; in a stody stood I therfore. 

Neu<?rthelese at last, as Morpheus me badde, 
I lokyd forward w/t// countenaunce sadde, 1876 

269 
Where I behelde in portrayture 1877 

The xmxver of the felde, euyii as hit was 
Shewyd me before ; & eu^ry creature 

On boothe sydes beyng drawyn in small space 1880 
So curyously, in so lytell a compace, 

In all thys world was neu*??- thyng wrought ; 
It were impossyble in erthe to be thought. 1883 

270 
And when I had long beholde that pycture — 1884 

"What," quoth Morpheous, " how long shalt thow looke, 
Daryng as a dastard, ori yofi portrayture? 

Come of for shame; thy wytte stant a crooke." 1887 
I heryng that myn hert to me tooke, 

Towarde the iiii"" wall turnvng my vysage, 
Where I sawe poetys & phylosophyrs sage, 1890 

271 
Many ooii mo then at the banket 1891 

Seruyd the goddifj-, as I seyde before. 
Som were made standyng, & som in chayeri?j- set, 

Som lookyng on book^'j-, as they had stodyed sore, 1894 
Som drawyng almenak^i-, & in her hand^j- bore 
Astyrlabes, takyng the altytude of the sonne — 
Among whom Dyogenes sate in a tonne. 1897 



All things as 
described are 
portrayed upon 
the wall. 



I look to the 
fourth wall, 
where are 
poets and 
philosophers. 



56 Doctrine's Interpretation. 

272 
And as I was lokyng on that fourthe wall, 1898 

Of Dyogenes beholdyng the ymage, 
Sodeynly Doctryne began me to call, 

And bad me turne toward hyr my vysage. 1901 

And so then I dyd w/t/i humble corage. [thentent 

"What thynkest thow," she sayde, "hast thow nat 
Yet of these foure wallys — what they rep;rsent? 1904 

273 
Doctrine " The pycture on the fyrst, that standeth at mv bake, iqot; 

explains the * -^ ■' j ' y j 

pictures of the Shewcth the the p/-<?sent Tyme of Pylgremage, 
Of whyche before I vnto the spake, 

Whyche ys the Tyme of Daungerus Passage. 1908 

The secund, dyrectly ageyn my vysage. 
The Tyme expresseth of Deuyacion, 
Whyle paynym lawe had the domynacion. 191 1 

274 
"The thryd wall, standyng on my lyft hande, 19 12 

The Tyme repr<?senteth of Reuocacion. 
And the fourth, standyng on my ryght hande, 

Det^rmyneth the Tyme of Reconsylyacion. 191 5 

Thys ys the effect of thy vysion. 

Wherfore the nedyth nomore thefon to muse — 
Hit were but veyn thy witt^i" to dysvse. 191 8 

275 
Spendweiithe " But duryng the Tyme of Rcconsiliacion 1919 

Time of 

Reconciiia- Thy Tyme of Pylgremage looke well thow spende 

And then woll gracious Predestinacion 

Bryng the to glory at thy last ende." 1922 

And euyn with that cam to my mynde 
This reminds My furst conclusiou that I was abowte 

former'doubt. To haue drcvyfi, er slepe made me to lowte — 1925 

276 
I pray That vs to scy, howe Sensualyte 1926 

Doctrine to •' -' "^ 

reconcile W/t// Rcason to acordc myght be brought aboute. 

Reason and - 

Sensuality. Whychc causyd me to knele downe on my kne 

And beseke Doctryne det^rmyne that doute. 1929 

"Oo Lord God !" seyde Doctryne, "canst thow nat w/t// 
Me that conclusion bryng to an ende? [oute 

Ferre ys fro the wytte & ferther good raende." 1932 



Accord of Rc.ison and Sensuality. 



57 



of whom I am 
afraid. 



Reason and 
Sensuality 
come thither. 



277 

And euen w/t// that Dethe gan appere, 1933 Death enters; 

Shewyng hyiiisylf as though that he wolde 
Hys darte haue occupyed w/t/zyn that herbere. 

But the? was nooii for hym, yong nor olde, 1936 

Saue oonly I, Doctryne hym tolde, 

And when I herde liyr w/tA hym conion thus, 
I me w/t//drew behynde Morpheus, ^939 

278 
Dredyng full soore lest he with hys dart, 1940 

Thorow Doctrynes wordi?^", any entresse 
In me wolde haue had or claymed any part — 

Whyche shuld haue causyd me gret heuynesse. 1943 
W/t//yn whyche tyme & short processe, 
Came theder Reason & Sensualyte. 
"A," quoth Doctryne, "ryght welcome be ye. 1946 
279 
" Hyt ys nat long syth we of yow spake. 1947 

Ye must, er ye go, detf^rmyne a dowte." 
And euyfi with that she the mater brake 

To theyw and tolde hit eu^'ry where abowte. 1950 

I wold haue be thens, yef I had mowte. 
For feere I lookyd as blak as a coole. 
I wold haue cropyn in a mouse hoole. 195 3 

280 
"What!" quoth Doctryne, "where ys he now, ^954 

That meuyd thys mater straunge & diffuse ? 
He ys a coward — I make myfi avow. 

He hydeth hys hede, hys mocion to refuse." 195 7 

"Blame hym nat," quoth Reson, "alwey that to vse 
When he seeth Dethe so neere at hys hande. 
Yet ys hys part hym to wythstande. i960 

281 
"Or, at the leste way, ellys fro hym flee 1961 

As long as he may — who dothe otherwyse 
As an ydiote." Quoth Sensualyte, 

'Who dredyth nat Dethe wyse men hym dyspyse." 
"What!" seyde Doctryne, "how long hathe thys gyse 
Beholdyn & vsyd thus atwyx yow tweyne ? 
Yee were nat wont to acorde certeyne." 1967 



I am more 
afraid. 



Reason 
excuses my 
fear, since 
Death is to be 
shunned. 



With which 
sentiment 
Sensuality 
accords. 



58 



Accord of Reason and Sensuality. 



This solves 
my question. 



Death, 
Reason, and 
Sensuality 
vanish. 



The matter is 
not wholly 
clear. 



282 

"Yes," quoth Reson, "in thys poynt, alway 1968 

To eu^ry man haue we yeuen our counsayll 
Dethe for to flee as long as they may. 

All though we otherwyse haue done our trauayll 197 1 
Yche other to represse, yet w/t//oute fayll 
In that poynt oonly dyscordyd we ntwer. 
Thus condescendyd theryn be we for eu^r." 1974 
283 
"A! A!" seyde Doctryne, "then ys the conclusion 1975 

Clerely determynyd of the gret dowte 
That here was meuyd" — & halfe in derysion 

She me then callyd & bade me loke owte. 1978 

"Come forthe," she seyde, "and feere nat thys rowte." 

And euen w/t/z that, Reson and Sensualyte 

And Dethe fro thens were vanysshyd all thre. 1981 

284 

Then lokyd I forthe as Doctryne me badde. 1982 

When Dethe was gooii, me thought I was bolde 
To shew my sylf, but yet was I sadde. 

Me thought my dowte was nat as I wolde, 1985 

Clerely and opynly declaryd & tolde. 
Hit sownyd to me as a parable, 

Derke as a myste, or a feynyd fable. 1988 

285 
And Doctryne my conceyte gan espy. 1989 

"Wherfore," seyde she, "standyst thow so sty 11 ? 
Whereyn ys thy thought? Art thow in stody 

Of thy question ? Hast thow nat thy fyll 1992 

To the declaryd ? Tell me thy wyll. 
Herdest thow nat Reson & Sensualyte 
Declare thy dowte here before the?" ^995 

286 
"Forsothe," quoth I, "I herde what they seyde. 1996 

But neu^rthelese my wyt ys so thynne, 
And also of Dethe I was so afrayed. 

That hit ys oute where hyt went ynne. i999 

And so that matyr can I nat wynne 
W/t//out yo//r helpe & benyuolence 
Therof to expresse the verray sentence." 2002 



Accord of Reason and Sensuality. 



59 



287 
"Well," quoth Doctryne "then yeue attendaunce 

Vnto my wordes, & thow shalt here 
Opvnly declarvd the concordaunce 
Atvvene Sensualyte & Reson in fere. 
Yef thow take hede, hit clerely dothe apere 
How they were knette in oon opynyon. 
Bothe agayii Dethe helde contradyccyon. 
288 
"Whyche concordaunce nomore sygnyfyeth 

To pleyne vndyrstandyng, but in eu^'/y mane 
Bothe Sensualyte & Reson applyeth 

Rather Dethe to fie then with hit to be tane. 
Loo in that poynt accorde they holly thane. 
And in all other they clerely dyscorde. 
Thus ys trewly set thy doutfull monacorde." 
289 
I, heryng that, knelyd on my kne 

An thankyd her lowly for hyr dyscyplyne, 
That she vouchesafe, of hyr benygnyte. 
Of tho gret dowtys me to enlumyne. 
Well was she worthy to be called Doctryne, 
Yef hit had be nomore but for the solucion 
Of my demaunde and of thys straunge vysyon. 
290 
And as I wiih myne heede began for to bow. 

As me well ought to do hyr reu^rence, 
She thens departyd — I cannat tell how. 
But w/t//yn a moment goofi was she thens. 
Then seyde Morpheus, " Let vs go hens. 
What shuld we heere tary lengere? 
Hast thow nat herde a gen^rall answere 
291 
To all thy matyrs that thow lyst to meue? 

My tyme draweth nere that I must rest." 
And euyn therw/t/^ he tooke me by the sleue 
And seyde, " Goo we hens, for that hold I best. 
As good ys ynowgh as a gret feste. 

Thow hast seefi ynowgh; hold the content." 
And euvn with that forthe wiih hym I went. 



2003 Doctrine 

interprets my 
vision. 



2006 



2009 



In one point 
Reason and 
Sensuality 
20 I "2 accord — in the 
■^ fear of Death. 



2016 



2017 



2023 
2024 

2027 

2030 
2031 

2034 

2037 



Doctrine 
suddenly 
vanishes. 



Morpheus 
leads me back 



6o 



The Vision Broke fi. 



to my bed 



and secretly 
steals away. 



Then I awake 



in great dread. 



It is all a 
dream. 



Lest fault be 
found in me, 
1 write down 
what I have 
seen. 



Take from my 
writing the 
best and leave 
the chaff. 



292 

Tyll he hade me brought agene to my bedde, 2038 

Where he me founde, and then pryuyly 
He stale awey. I cowde nat vndyrstande 

Where he became, but sodenly 2041 

As he came, he went — I tell vow veryly. 
Whyche doon, fro slepe I gan to awake. 
My body all in swet began for to shake 2044 

293 
For drede of the syght that I had seene, 2045 

Wenyng to me all had be trew 
Actuelly doon where I had beene, 

The batayll holde twene Vyce & V<^/-tew. 2048 

But when I sy hit, hit was but a whew, 
A dreme, a fantasy, & a thyng of nought. 
To study thefon I had nomore thought. 2051 

294 
Tyll at the last I gan me bethynke 2052 

For what cause shewyd was thys vysyon. 
I knew nat ; wherfore I toke pen & ynke 

And paper to make therof mencion 2055 

In wrytyng, takyng consideracion 
That no defaute were founde in me, 
Whefon accusyd I ought for to be 2058 

295 
For slowthe, that I had left hit vntolde — 2059 

Nowthyr by mowthe nor in reme;;^braunce 
Put hit in wrytyng ; whef thorow manyfolde 

Weyes of accusacion myght turne me to greuaunce. 2062 
All thys I saw as I lay in a traunce, 

But whedyr hit was w/t/^ myne ey bodyly 
Or nat in certayfi, God knoweth and nat I. 2065 
296 
That to dyscerne I purpose nat to deele. 2066 

So large by my wyll hit longeth nat to me. 
Were hit dreme or vysiofi, for your owii wele. 

All that shall hit rede, here rad, or se, 2069 

Take therof the best & let the worst be — 
Try out the corne clene from the chaff 
And then may ye say ye have a sure staff 2072 



Exhortation to Virtue. 



6i 



297 
To stande by at nede, yef ye woll hit holde 2073 

And walke by the way of V^rtu hys loore. 
But alwey beware, be ye yong or olde, 

That your frewyll ay to V,f/-tu moore 2076 

Apply than to Vyce, the eysyer may be boore 
The burdyn of the fylde, that ye dayly fyght 
Agayfi your iii eneniyes, for all her gret myght. 2079 
298 
That ys to sey, the Deuyll & the Flesshe 2080 

And also the Worlde, w/t// hys glosyng chere, 
Whyche oil yow looketh ^wcr newe & fresshe — 

But he ys nat as he doth apere. 2083 

Lok ye kepe yow ay out of hys daungere. 
And so the vyctory shall ye obteyne, 
Vyce fro yow exylyd & Vrrtew in yow reyne. 2086 
299 
And then shall ye haue the triuwphall guerdoufi 2087 

That God res^'rueth to eurry creature 
Aboue in hys celestiall mansiouii, 

Joy and blys infinite, eternally to endure. 2090 

Wherof we say we wold fayii be sure. 

But the wey thedyfward to holde be we lothe, 
That oft sythe causeth the good Lorde to be wrothe. 



Walk the way 
of Virtue. 



Fight against 
your enemies, 



the Devil, 
the Flesh, and 
the World. 



Let Virtue in 
you reign. 



Thine be the 
glory and the 
celestial 
mansion. 



And by oure desert oure hcz^itacion chaungeth 2094 

Fro ioy to peyne & woo p^vpetuelly, 
From hys gloryous syght thus he vs estraungeth. 

For our vycyous lyuyng, thorough owre owne foly. 2097 
Wherfore let vs pray to that Lord of Glory, 

Whyle we in erthe bee, that he wyll yeue vs grace. 
So vs here to guyde that we may haue a place, 2100 
301 
Accordyng to oure regeneracion, 2101 

W/t/z heuynly spyryt^j-, hys name to magnyfy 
Whyche downe descendyd for our redempcion, 

Offryng hym sylf on the crosse to hys fadyr on hy. 2 104 
Now benygne Ih<^i-u, that borfi was of Marv, 

All that to thys vysion haue yovyn her audvence, 
Graunt eternall ioy aftvr thy last sentence. 2107 



Let us pray 
the Lord of 
Glory to give 
us grace. 



Let us magnify 
His name. 



Jesus, grant 
eternal joy to 
the readers of 
my book. 



NOTES. 

In the notes and introduction references are made to the following 
editions : 

Lydgate's Minor Poems, including Pur le Roy, Chorle and Bird, and 
Testament, Halliwell, Percy Soc. 

^sop, Sauerstein (Anglia, IX). 

Temple of Glas, Schick, E. E. T. Soc. 

Dance of Macabre, A/S. Bodl. 686. 

Falls of Princes, Pynson's print, Brit. Mus. 

Story of Thebes, Speght's Chaucer, Lond. 1598. 

Secrees of Old Philisoffres, Steele, E. E. T. Soc. 

Chaucer's Works, Skeat, one vol. (Macmillan) ; also the Aldine, 

Langland's Piers the Plowman, Skeat, E. E. T. Soc. Text B. 

Gower's Confessio Amantis, Pauli, 3 vols. 

Mapes's Latin Works, Wright, Camden Soc. 

Michel's Ayenbite of Inwyt, Morris. 

Rolle of Hampole's Pricke of Conscience, Morris. 

Ancren Riwle, Morton. 

Wyclif's Works, Arnold, 3 vols. 

Chronicle of Robert of Brunne (Anglia, IX). 

Hawes's Pastime of Pleasure, Percy Soc. 

Douglas's Works, Small, 4 vols. 

Dunbar's Works, Small, Scot. Text. Soc. 

Lyndesay's Works, E. E. T. vSoc. 

King James's Quair, Skeat, Scot. T. Soc. 

Skelton's Works, Dyce. 

Barclay's Ship of Fools, Jamieson, 2 vols. 

Spenser's Works, Morris, one vol. (Macmillan). 

Other works, as specially indicated. 

P. I, 1. I. The time is near the middle of July. Lydgate has a similar opening 
in A Poem against Self- Love (M. P., p. 156): 

" Toward the eende of froosty lanuarye, 
Whan watry Phebus had his purpoose take 
For a sesoun to soiourne in Arjuarye 
And Capricorn hadde uttirly forsake. 

Toward Aurora a-morwe as I gan wake " 

Cf. the imitation by Hawes in the Pastime of Pleasure: 
" When Phebus entred was in Geminy, 
Shynyng above in his fayre golden spere, 
And horned Dyane then but one degree 
In the Crabbe had entred fayre and cleare ; 
When that Aurora did well appeare 
In the depured ayre and cruddy firmament, 
Forth then I walked without impediment." 
The prototype is found in Mapes' poem "Apocalypsis Goliae Episcopi," which 
contains also a reference to Pythagoras as the teacher to the Greeks of the 
seven Arts of the Schools. P. is there represented as having the signs of 

62 



Notes. 63 

the Arts on different portions of the bod)'. Astrology, the highest form of 
knowledge, is marked prominently on the forehead. (Works, Camden 
Soc, ed., Wright.) 
Hawes, in his Past, of Pleas., p. 105, affirms that 

"Thus God hym selfe is chief astronomyer." 

1. 2. gan. This usage is maintained to the present. See Browning's Easter 
Day: 

" WHiich gan suspire." 
Used as auxiliary in 1. 624. 

1. 3. Pictagoras speere. The spelling " Pictagoras " occurs in the Rom. of 
the Rose (1. 5649) for the French "Pythagoras" (1. 5007). Chaucer has 
"Pictagoras" \Vi\.\\Q Bk. of the Duck. {\. 1167). Lydgate uses "Pictagoras " 
in Min. P. (p. 84, 87). The philosopher was known in England for his 
science of number. Cf. Lydgate's Pur le Roy (M. P., p. Il): 

"And Arsmetryk, be castyng of nombrary, 
Chees Pyktegoras for her parte." 
Chaucer notes he "the firste finder was of the art (of music)" — Bk. of the 
Duch, 1. 1 168. 

The sphere is according to his mathematics the most perfect figure ; it is the 
circle of the heavens. It was used to symbolize the Soul, the Microcosm, 
implying final harmony in " the Diapason closing full in man." Other 
figures were the triangle, the least perfect figure, symbolizing the body, and 
the quadrate, in the perfect proportion of 7 to 9, embracing all the powers 
of man. Cf. Spenser, Faery Queene, Bk. IT., c. 9, st. 22 : 
"The frame thereof seemd partly circulare. 

And part triangulare, O worke divine, .... 

And twixt them both a quadrate was the base, 

Proportiond equally by seven and nine ; 

Nine was the circle set in heavens place ; 

All which compacted made a goodly Diapase." 
The ninth or cosmological sphere represented harmony, to which end, accord- 
ing to the philosophy, opposing elements were united. The Pythagorean 
sphere thus taught the poet the lesson he was seeking of concord. 

P. 2, 1. 9. obstacle, habytacle, tryacle. Other sets of rimes occur thus : obstacle, 
spectacle, myracle, tryacle ( Test., Min. P. p. 236); triacle, obstacle {yEsop, Fab. 
4, 11. 148-50); obstacle, myracle {Seer., 11. 120-22); obstacle, oracle {Seer., 
11.624-26); obstacle, miracle (Chau. ^r. Tale, 11. 571-72); miracle, triacle 
(Chau. Alan of L. Tale, 11. 379-80, etc. 

1. II. habytacle. Cf. Chau. Ho. of Fame, 1. 1 194 = 

" Weren sondry habitacles ;" 
Lydgate, Miti. P. p. 140 : 

"Whan th'olvgoost made his habitacle ; " 
Hawes, Past, of Pleas., p. 218 : 

" First God made heaven is propre habitacle," etc. 

1. 12. rowne. Commonly in M. E. a distinction is made between rowne (to 
mutter) and whisper. Here = to commune. 

1. 12. tryacle. Theriaca was the name given to a medicine compounded by 
a Roman physician Andromachus. For the history of the word see Morley, 
Lib. of Engi. Lit., p. 21. Lydgate uses the term frequently; thus " Gostly 
tryacle", Min. P. p. 98 ; 

" Ther is no venome so parlious in sharpnes 

Os whan it hathe of treacle a lyknes — " Ch. and Bd., Min. P. p. 186; 
"Ageyne verray povson ordeyned is triacle — " yEsop, Fab. 4, 1. 148; 
"The name of Ihesu ! swettest of namys alle ! 

Geyn goostly venyms, holsomest tryacle — " Test., M. P. p. 236. 
It is found in Chaucer, Man of L. Tale, 1. 381 : 

" Crist, which that is to every harm triacle ;" 



64 Notes. 

and in Piers PL Pas. 2, 1. 146 : 

"Love is triacle of hevene." 
Cf. Beau, and Fl., Sea Voyage (Dyce, viii., p. 360): 
" This may be treacle 

Sent to preserve me after a long fast." 
The figurative use is very common. 

1. 14. Morpheus. These dreamers almost invariably have guides. Boethius 
was directed by Philosophy, Dante by Virgil and Beatrice, Mapes by Pytha- 
goras, King James by Good Hope, etc.; Morpheus as a shewer of fancies 
appears again in Higgin's iMirrottr for A/agistrates (1576). 

1. 18. Mynos (he iustyse. Minos is first seen as Judge of the lower world in 
the Odyssey. Virgil followed Homer [Aeti. 6, 431). Dante selected him 
as the typical judge in the Inferno (c. v.) in the second circle of which he 
abides and examines sins at the entrance. 

1. 19. sylogyse. A general term. Cf. Hawes, Past, of Pleas, p. 32 : 
" Agaynst your fables wyll often solisgyse." 

1. 21. he 7iiu5t nedys go, etc. The proverb occurs again in Skelton's Garl. of 
Laur., 1. 1434 : 

"Nedes must he rin that the devyll dryvith." 
Greene uses it in The Carde of Fancie, ed. Grosart, p. 79, I. 4. Hazlitt in 
his Proverbs quotes an instance from Triall of Treasure (1567). 

1. 34. abydyng. Used as a noun. Cf. ^■^sop. Fab. 6, II. 122-23 : 
"Yonder on that other side 
Is myn abidyng." 
Cf. guydyng, 1. 59. 

1. 35. Fantasy. For the dwelling place of Morpheus see Chaucer's Ho. of 
Fame, Invoc; Bk. of the Duch.. I. 153 ; Spenser, Faery Queene, Bk. I., c. I, 
St. 39; Ariosto, Orl. Fur., xiv., 92; Ovid, Met., xi., 592. Gower describes 
the Cave of Sleep in Confes. Atn., II., pp. 102-3. Cf. " The House of Sleep," 
Cook, Mod. L. Notes, V., p. 10. 

1. 37. Cerberus. The constable is a somewhat new role for Cerberus, whom 
Dante describes as a demon, a cruel and monstrous beast tearing and flaying 
and rending the spirits in Hell {Infer., c. 6). As opposing Christ he appears 
in Lydgate"s Test, p. 236 : 

" Ihesu 

Took out of helle soulys many a peyre, 

Mawgre Cerberus and al his cruelte." 
He is called "chief porter of hell" in Story of Thebes, fol. 375. He was 
known to Bunyan as the Porter of Hell, serving also as one of the captains 
of Diabolus in the Holy War. 

P- 3» 1- 45- strayte correccion. Cf. ^sop. Fab., 4, I. 36 : 

" Straitly requyreng the iuge in this matiere ;" 
Secrees, II. 762-3 : 

" Twen moche and Ivte a mene to devise 
Of to mekyl and streight coveitise ;" 
idem, 1. 799 : 

" But he that is streyght in his kepyng." 

1.52. in fere^iY^ company, together; O. E. ge-fera, a companion; M. E. 
in fera is a corruption of yfera which is restored in Spenser ; and cf. Tenny- 
son, Conf. of Sens. Alind : 

" And in the flocks 

The lamb rejoiceth in the vear. 

And raceth freely with his fere." 
Chaucer has yfere in Leg. of G. IV., Pr., I. 263. Douglas uses yfeir. 



Notes. 65 

1. 58. chases. Technically a chase is a private open hunting ground to which 
game resorts, differing from a "forest" in being open and private. Cf. 
Cheviot Chase or Chevy Chase. 

1. 59. cure. Cf. Chaucer, Ho. of Fame, 1. 464: 

"For Jupiter took of him cure." 

1. 65. comfort. This word has a variety of meanings in M. E. Cf. Glossary. 

1. 66. roote and rynde^^v/hoWy. Cf. ]. 620, "croppe and roote." See Gower, 
Conf. Aman. 1, p. 152 : 

"Of tlour and gras and roote and rinde." 

1. 69. maner. For this use of maner see Chaucer, Compleynte unto Pite, 

1.24: 

" What maner man dar now holde up his heed ?" 
The Compl. of Mars, 1. 116 : 

"For she ne fond ne saw no maner wight." 
See 1. 5 : 

" Musyng on a maner," 

1-1735: 

" Any maner wey." 
Cf. Secrees, 1. 7 : 

" To euery maneer wyght ;" 
idem, 1. "41 : 

" In no maner wyse." 

1.71. syngler. Cf. Secrees, 1. 332 : 

" P"or my moost vertuous and singuleer counfort ;" 
idem, 1. 1 128: 

" To his noblesse and his singuler glorye." 

P. 4, 1. 87. kervell. Cf. Kersey's Diet.: " Caravel or carvel, a kind of light round 
ship with a square Poop, rigg'd and fitted out like a Galley, holding about 
six score or seven score Tun." Columbus's ships were called "caravels." 
The vessel which Douglas saw in his vision {Pal. of H.) that was driven 
upon the sands was called the "Carwell of the State of Grace." 

1. 88. karyk=cz.x\i, a large ship. Cf. Chaucer, Sam. Tale, Pr., 1. 24: 

" Brodder than of a carrik is the sayl" (the first use of word in Engl.). 
The "Universal Ship" that carried Barclay's fools is called a " carake "; 
and see Ship of Fools, II., p. 220: 

" That all the shyppes ne galeys vnto Spayne 
Nor myghty carakes cannot them well contayne." 
Cf. Beaumont and Fletcher, Tivo Nob. Kins: 
" Then would I make 
A carrack of a cockle-shell." 

1. 90. who. Note the use of who as relative. See 1. 769. 

1. 96. daungere. The M. L. damnum signified (i) a fine (2) the territory over 
which a lord ruled (3) the enclosed field of a proprietor (4) power to exact a 
penalty. In M. E. danger meant in general simply power or jurisdiction. 
Cf. ^sop. Fab. 5, 1. 39 : 

" Thow were in my daungere." 
See 1. 543 = territory or jurisdiction. It had also the modern meaning of 
danger as in the Secrees, 1. 1 103 : 

"Avoydyng al daungeer." 
See Wedgwood for the history of the word. 

1. 97. seethe = satisfaction. Cf. Digby Myst., N. Shak. Soc, p. I43, 1. 121-3: 
"Wysdom that was god and man right. 
Made a full seth to the fader of hevyn 
By the dredfull deth to hym was dight." 



66 Notes. 

1. lOi. a loft. Cf. Temp, of Glas, 1. 41 : 

"Now lowe ami eft aloft ;" 
idem, 1. 645 : 

" I am set on loft ;" 
Secrees, 1. 1244 : 

" Planetys a-lofte." 

1. 104. fooin. This was often used of sweat as in Chaucer, Ch. Yeo. Tale, 
Pr., 1. 12: 

" He was of fome (from sweat) al flekked as a pye." 

1. 105. betyn. Cf. Lydgate, Min. P., p. 168: 

" Abydithe so longe til he be betyn doune." 

P. 5, 1. 116. in especiall. A very common phrase in Lydgate. Cf. Secrees, 11. 536, 
653, 1041. loSS, etc. I fmd a modern use of the phrase in Poe's /%//. 0/ 
Composition : 

" It is this latter, in especial, etc." 

1. 119. cost. Frequently used for neighboring country. Cf. Piers Plow., 
Pas. ii., 1. 85 (B) : ■ 

" The counte of coueitise and alle the costes aboute." 

1. 126. f>yry. Cf. Ir. piorra, a blast of wind. This is an earlier instance 
than that given in the Cent. Diet. Cf. Hawes, Past, of Pleas, p. 53 : 

" In the stormy pery." 
lappyd ^= wrapped. Cf. Rob. of B. Citron. 1. 1 149: 

" And bylapped hem on ylk a side ; " 
Ode by Rich. Barnfield, 1. 24 : 

" All thy friends are lapt in lead ; " 
Breton, Arb. of Am. Delights (1593): 

"Sing lullaby and lap it warm." 
Browning uses it in Strafford, Act V, 2, 1. 332 : 

"lapped round with horror." 

1. 127. boystous. This i"-, the form of the word in Chaucer. Cf. Matin. 
Tale, 1. 107 : 

" I am a boistous man ; " 
Morte Arthure, Th. MvS., 1. 615: 

"Thos bustous churlles." 
The Story of Thebes has "boistouslie " (fol. 370). 
Boisterous is found by Shakespeare's time. 

1. 140. auysment. Cf. Chaucer, Pari, of F., 11. 554-55 : 

" The water-foules han her hedes leyd 
Togeder, and of short avysement ; " 
Troy, and Cris., 11,1 343 : 

"Avysement is good bifore the nede." 

P. 6, 1. 154. egall = equall. Cf. Lydgate, Secrees, 1. 3S6 : 

" Ve wer of lyff egal with hooly seyntes ; " 
Min. P. p. 210 : 

"So egallv ther doomvs to avaunce." 
Paregall occurs often in Skelton. L'nperegall is found in Marston, Dutch 
Courtezan, IV, v. 

1. 157. prima facie. The date of the first instance of the Engl, usage of 
this phrase given in the Stanford Diet. (Latin in Engl.) is 1646. Cf. Chaucer 
in Troil. and Cris. Ill, 1. 918 : 

" This accident so pitous was to here 
And eek so Ivk a sooth, at pryme face." 

1. 162. omoarde. Skeat savs this did not appear before Sir Th. More ! 
(Diet.). 



Notes. 67 

1. 163. messynger. Formed from the Fr. message. When was the n intro- 
duced? 

Gower has messagere in Conf. Am., Ill, p. 249. Lydgate in Story of Thebes 
uses messengers (fol. 372) and messagere (fol. 380, 386), Chaucer has both 
messager and messanger (see Glossary of Ch.). 

I. 167. banket. In the fourteenth century the cloth or cushion covering a 
banlt or bench on which dessert was served was called a " banker " ; a feast 
came to be called a " banket " {Mem. of Land., ed. Riley, I, p. 179 and p. 44). 

, 7, 1. 191. ryght glad. Right used in this manner is generally considered to 
be an Americanism (Southern) but this usage, like the American "I guess," 
is good Middle English. 

1. 192. all and some = \.\i& long and short of it (Skeat). This is one of 
the most common phrases in L. M. E. Cf. Chaucer, Fr. Tale, I. 878 : 

" This al and som, there is no more to seyn ; " 
Pari, of F., \. bso : 

"This al and som, that I wolde speke and seye," etc., etc. 
Rom. of the Rose, 1. 740: 

" So faire they weren alle and some ; " 
Gower, Conf. Am., II, p. 379 : 

"There ben the lordes all and some;" 
Lydgate, Temp, of Glas, 1. 1 037 : 

" This is al and some, the fine of my request," etc. 
Cf. Spenser, Faerie Queen, III, xii, 30. 

I remember to have seen the phrase used by Swinburne. Browning has in 
Ring and Book : 

" So do I see, pronounce on all and some." 

I. 202. by and by = one after the other, separately. See 1. 302. Chaucer 
has in Rv. Tale, 1. 223 : 

"Right in the same chambre, by and by;" 
Rom. of the Rose, 1. 4581 : 

"These were his wordis by and by." 

1.217. grogyng. The most common word of its class in Lydgate's vocab- 
ulary, commonly spelled grucchyng. 
Min. P. p. 67 : 

" Nat grucchyng, but mery like thi degre ; " 
idem, p. 83 : 

"List thank God voyde al grucchyng;" 
.^sop. Fab. 2, 1. 161 : 

"Nor grucche in pouerte." 
Often in Temp, of Glas (see 11. 187, 424, 853, 879, 1266) and Secrees (11. I13, 
775, 778, 780). 
Piers the Plow., Pr., 1. 153 : 

" And gif we grucche of his gamen." 
In Chaucer's Pe7's. Tale grucching is declared a species of Envy. 
Cf. Mary Wilkin's Pembroke, Ch. 12 : 

"I don't begrutch it to her." 

8, 1. 232. dyscrese. From L.L. discrescere. Gower has discreseth {Conf. Am. 

II, p. 189). 

1. 233. I dar vndyrtake. A common formula; Chaucer has it in the Ml. Tale, 
1. 355. Cf. Prol. 1. 288 : 

"And he nas nat right fat, I undertake." 

1. 243. Neptune's inastresse. Cf. Chaucer, Fr. Tale, 11. 319-20 : 
" Though Neptunus have deite in the see. 
Yet emperesse aboven him is she (Lucina)." 



68 Notes. 

1. 249. Othea. I have retained the spelling in the text, though I am confi- 
dent that Athena is the right reading. 

1. 252. marchall. It was the office of the marshal of a feast to set the guests 
in order of rank. 

P. 9, 1. 253. The Gods. The delineation of the pagan deities in the manner of 
pictorial art is perhaps the best thing done in the poem. For models of 
these images he had, perchance, the work of Albricus Philosophus, entitled 
De Deorum Imaginibus, containing sketches of the heathen gods (Van Stav- 
ernes Auctores Mythog. Lat.); also, of course, the work of Fulgentius 
(Introd. p. xl) ; or for that he would not need to go much farther than Gower's 
Conf. Aman. Bk. IV. In 1. 294' he refers to " olde poetys " for his authority. 
There is a minor assembly of gods in Lydgate's ALsop where judgment is 
given concerning the marriage of Phebus. See also The Assembly in 
Dunbar's Golden Targe. 

1. 256. presse. The MS. preef is changed to presse because of the riming 
word messe. 

1. 258. be spreynt. Cf. Chaucer, Covipl., 1. 10 : 

" To Pite ran I, al bespreynt with teres ; " 
" dew-besprent " occurs in Comus, 1. 541. Browne notes that besprent is Spen- 
serian. 

1. 260. Mars myghty god and strong. A translation of the more common 
epithet of Mars, " armypotent " — borrowed from Virgil {ALn. IX, 717). Cf. 
Boccaccio, Teseide, VII. 32. 

I. 262. yron and the other metals. The association of the different metals 
with the planets is attributed to Geber (see Thomsor Hist, of Chern., I, 117). 
The temple of Mars built by Theseus {Knig/ifs Tale) was all of steel. In 
Chaucer's Ho. of Fame (II.1446-8) it is said that " Yren Martes metal is : " 
" And the leed, withouten faile. 
Is, lo, the metal of Saturne." 
The Chanouns Yeman explains the seven "bodies" {Ch. Y. Tale, 11. 273-6): 
" Sol gold is, and Luna silver we threpe ; 
Mars yren, Mercuric quicksilver we clepe ; 
Saturnus leed, and lubiter is tin. 
And Venus coper, by my fader kin." 
Gower gives the complete list in Conf. Am., Bk. 4, 11, p. 84 : 
" The gold is titled to the sonne ; 
The mone of silver hath his part ; 
And iron, that stond upon Mart ; 
The leed after Satorne groweth ; 
And lupiter the brass bestoweth ; 
The copper set is to Venus, 
And to his part Mercurius 
Hath the quick-silver." 
Note the description by Hawes of the monster of the seven metals whose 
head and face were gold, the neck silver, the breast and heart steel, the fore- 
legs brass, the back copper, the hindlegs tin, the tail lead {Fast, of Fleas. 
p. 192). 

1. 266. pondryd. A term in heraldry for sprinkled. 

1. 267. take the mantell and the ryng. This saying refers to the assumption 
by a widow of a ring and a "widow's mantel," probably of black silk, as 
evidence of a vow of perpetual widowhood. See Lydgate, Dance of Mac.: 

" Chastely receyved the mantel and the rynge ; " 
Min. P., p. 34 : 

"She wol perhappous maken hir avowe 
That she wol take the mantle and the ryng." 



Notes. 69 

P. 9, 1. 269. demenyng. Cf. the Secrees, I. 1082 : 

"Sad of his cheer, in his demenyng stable;" 
Temp, of Glas, 1. 75° = 

" Hir sad demening." 

1. 270. Words like sad, wise and end are dissyllabic in Chaucer, sad | de, 
wys I e, end | e. 

1. 272. philosophres: cofres. A stock rime from Chaucer ; cf. Cant. Tales "Pr. 
1. 297-8 : 

"And albe that he was a philosophre 
Yet hadde he but litel gold in cofre ; " 
see also Man of L. Tale, 11. 25-6 ; Fr. Tale, 11. 843-4 ; C//. Y. Tale, II. 
283-4; Dr. of Ph. Tale, Pr. 1. 5-6; Leg. of G. W., Pr. 11, 380-1 ; Gower uses 
it in Conf. Am., II., p. 197 and III., p. 163; Lydgate employs it again in 
JEsop, 11. 1-3, in Secrees, 11. 34-5, 435-7, 540-2. Chaucer rimes philosophre 
again with profre {Sec. N.Tale, 11. 489-90 ; Ch. V. Tale, 11. 111-12), 

1. 275. rychely beseene. Cf. Skelton, Garl. of Laur., 11. 482-3: 
" Wherein was set of Fame the noble Quene, 
All other transcendynge, most rychely besene ; " 
Temp, of Glas, 1. 1167: 

"Ai fressh and welbesein." 

1. 280. morne: Satiirne. Cf. Temp, of Glas, 11. 480-1, mottrne: turne, 858-9, 
7iiourne: refourme. 

P. 10, 1. 296. /;YJJ/^^=gorgeous, gay. Cf. Skelton, Garl. of Lau., 1. 39: 

" Garnysshed fresshe after my fantasy." 
1. 306. purpiir. The M. E. spelling. Cf. Chaucer, Leg. of G. W., I., 1. 75 : 

' "With al her purpre sayle." 
1. 2>'^?>. perles oryent. Cf. Chaucer, Leg. of G. W., Pr., 1, 221 : 

"For of 00 perle, fyne, oriental;" 
see the Flow. ■• 'id Leaf, line 148 : 

' As greate pearles, round and oriente ; " 
Skelton, Garl. of Lau., 1. 485 : 

" Fret all with orient perlys of garnete ; " 
Lydgate's ALsop., 1. 26 : 

" Perils white, cliere, and oriental ; " 
John Day's Works (ed. Bullen, p. 37): "And as jewels, so the stones be 
orient, artfully cut and orderlie sett." 

I. 314. sulphure. Cf. Chaucer, Ho. of Fame, 11. 1507-11 : 
"And next him on a piler stood, 
Of sulfre .... 
Dan Claudian .... 
That bar up al the fame of helle, 
Of Pluto, and of Proserpyne." 

I. 316. Fortune the goddesse. This is that Fortune that was known to the 
Middle Ages. Boethius gave her form and figure in the second book of 
De Cons. Phil. Dante places her in the Fourth Circle of Hell (c. vii), say- 
ing that for the splendors of the world there was ordained a general mistress 
and guide who should ever and anon transfer the vain goods from race to 
race, and from one blood to another beyond the resistance of human wit 
(Norton). This is the import of Cavalcante's fine Song of Fortune, begin- 
ning, 

" Lo ! I am she who makes the wheel to turn ; 
Lo ! I am she who gives and takes away." 
She is shewn in full form vvith her wheel in the Roman de la Rose (2d part, 

II. 4863-8492). The English Komannt speaks of "The froward Fortune 
and contraire " (1. 5414). Chaucer describes her as going upright and yet 
halting, as looking fair and yet foul {Bk. of the Ditch., 11. 642-5): 



•JO jVotes. 

'Slie is th' envyous charite 

That is av fals, and semeth wele 

So tuineth she her false whele 

Aboute, for it is no-thing stable." 
Lydgate savs in the Min. P., p. 122 : 

" Fortune shewithe av, bv chaungvng hir see, 
How this world is a tluirgiiefare ful of woo." 
For a later description of Fortune and her wheel see King James' Qiiair, 
St. 158-172. Fluellen said to Pistol (A'. ILn. /'., Act III., Sc. b): "For- 
tune is painted blind with a muffler afore her eves, to signify to vou that 
J'ortune is blind ; and she is painted also with a wheel, to signify to you, 
which is the moral of it, that she is turning and inconstant, and mutability, 
and variation ; and her foot, look you. is fixed upon a spherical stone, which 
rolls and rolls." Note the painting of Fortune and her wheel bv F. Burne- 
Jones. The median-al Fortune was pictured by Raphael on the walls of the 
Vatican. 

1. 316. party face. Cf. Court of Lo~'c\ 11. 1 191-2 : 

" Dissemble stode not ferre from hym in trouth, 
With party mantill. party hode and hose." 
The Temp, of Glas, 1. 1155, has the formula "in parti or in al." 

1. 320. gaivJy grette chamelet. Chamelet was a cloth made of camel's hair 
and silk. Cf. Chaucer, Knights Tale, 1. 1221 : 

"In gaude greene hir statue clothed was (Diana)." 

1. "^22. shoures. Figuratively=distribution, bestowment. See another usage 
in 1. 732 = assault of battle. 

P. II, 1. 325. russet. Russet was a name given to a coarse woolen cloth, reddish 
brown in color and commonly worn by shepherds ; " clad in russet " was 
proverbial for homeliness. See Skeat's note in Piers F/0-0., p. 20S. The 
color is taken from the cloth. Cf. Shaks. hamlet. Act I., i. 166 : 

" The morn in russet mantle clad." 
/>-£•.?£•=: frieze, a coarse woolen cloth. 

1. 326. tar box. Every shepherd carried a box containing tar, which was 
used to annoint the sores in sheep. Cf. Chest. PL, p. 120 : 
" Heare is tarre in a potte 
To heale from the rotte." 
Skeat cites a carol in a Balliol MS., 354 (notes to Piers Plo-c, p. 195): 
"The sheperd upon a hille he satt, 
he had on hvm his tabard and his hat, 
hys tarbox, hys pype, and hys flagat." 
See Percy's Reliq., II., p. 256 : 

" And least his tarbox should offend, he left it at the folde." 

1. 329. the rnurre^=^ cold with hoarseness. Cf. Skelton, Magnyf., 1. 22S7 : 
"And I gvve hym the cowghe, the murre, and the pose" (pose=rheum 
in the head). 

1. 330. Is)'s the goddesse. Lydgate, in his Fall of Princes, describes again a 
number of the Divinities. Of Isis he says : 

"She was right wise above other creatures. 

Secrete of cunnynge, wele experte in science. 

She taught first letters and figures 

To Fgipciens bv plevn experience, 

Yave theym cunnynge and intelligence 

To till the londe, taught the labourerys 

To sowe their greyne and multiplie by yeres." 

1. 340. itt hys gyrdyll stede=^\n place of his girdle. But cf. Stubbes' Anat. 
of Abuses where gyrdlestead, used as a noun, signifies waist (I., p. 60). 



Notes. m I 

1- 343- (/j'Jg-J'JJ'«'= decked out in strange guise. Cf. Lang., Piers Plow. Pr. 
1. 24 : ' '' 

"And some putten hem to pruyde .... comen disgised." 
Cf. Secrees, 1. 11 70 : 

"As tiie Sonne shewitli in his guyse." 

1. ■ii,i,. Mynerue. Minerva as Pallas appears in Lydgate's Temp, of Glas 
"with her cristal sheld " (see Schick's notes, p. 87). ' 

1. 350. that other ye wote where, i. e., on her breast. 

1. 356. kendall. Probably the " Kendal Green," formerly manufactured by 
the flemish weavers who had established themselves in Kendall in the 14th 
century. 

P. 12, I. 361. wo'«/ = joined, p.p. of mingen. Cf. Temp, of Glas, 1. 276: 
"That Rose and lileis togedir were so meint ; " 
Spenser, F. Q. III. xi. 36 : 

"When she with Mars was meynt in joyfulnesse." 

]. 362. ne wer she. A common M. E. idiom. Cf. Piers Plow., Pr., 1. 199: 

"Nere (ne were) that cat of that courte that can yow ouerlepe ; " 
idem, Pas iii., 1. 134 : 

"Shireues of shires were shent gif she nere ; " 
idem, Pr., 1. 82 : 

"Gif thei nere ; " 
Chaucer, Man of L. Tale, 1. 34 : 

"Nere (ne were) that a marchaunt, goon is many a yere ; " 
Lydgate in Daiince of Pontes: 

"Also ne were it myn entent." 
See Glossary of Chaucer's Works under "nere." 

I. 365. Mercurius. Mercury, as god of eloquence, appears in Temp, of Glas, 

II. 130-32, and in Hawes' Past, of Pleas., p. 34. Lydgate speaks of him in 
Falls of Princes as "Right fresshe, ryght lusty and full of hardyness." See 
Schick's notes, pp. 80-1. Cf. Secrees, 1. 1207: 

"In Rethoryk helpith Mercuryvs." 
1. 365. see = stz.\.. Cf. O. F. se; used in the sense of seat or throne in 
Faery Queene, iv., 10, 30. 

1. 368. /ajjrj/(/= surpassed, excelled. Cf. Flow, and Leaf , 1. 168 : 
"That of beautie she past hem everichone." 

1. 371. multyplyers. For the "cursed craft" of multiplying, its materials 
and processes, see the Prolog to the Chanouns Yeman's Tale and Gower's 
Conf. Am., II., p. 84. The "spirits" employed were quicksilver, armoniac, 
sulphur and arsenic. The multipliers, along with coin washers and clippers, 
are classed among the vices (1. 681). 

1- 373- whoos long here shone as wyre of goold bryght, i. e., as the fine glitter- 
ing threads of goldsmiths' work. A favorite and tell-tale simile of Lyd- 
gate's. See Schick, Teryip. of Glas, notes, p. 88-90; Kolbing, Sir B. of 
Hatntoun, notes, pp. 244-5 ; also the introduction to this text, p. Ivi. 

1. 374. <rrj/j'/^= fresh or firm. Most often crisp meant curled, as when 
describing hair (cf. Chaucer, Knights Tale, 1. 1307) or rippled, as Milton's 
"crisped shades" (Co!?ius, 1. 984). Leigh Hunt has the present use in "It 
(laurel) has been plucked nine months, and yet looks as hale and crisp as if 
it would last ninety years." Cf. Browning, Pitig and Book: 
" The first crisp youth that tempts a jaded taste." 

1. 374. columbyne = Q\\.her dove-like or in color like the columbine. In 
Lydgate's Pur le Roy (Min. P., p. 8) the word is used in the first sense : 
"Most columbyne of chere and of lokyng." 



72 A'(>/(-S. 

Chaucer (in JAvr/i. Talc, 1. 807) has, 

"Come fortli now with thin eyghen cohnubine." 
Venus is always, of course, associalei.1 witii doves and roses. Cf. the 
A'»ig/Us Talc, 11. 1 102-4 : 

"And on her heed, ful semely for to see, 
A rose garland ful swete and wel smellvng. 
And aboven hire heed dowves tlikervng."' 
Cf. any mediaeval or modern painting of N'enus when represented as the 
" patronesse of plesaunce." 

1. 3S3. i>/<;</ri/=^made glad. For this transitive use of glad cf. Chaucer, 
Bk. of the Duch, 1. 70J T 

"May gladde me of my distresse ; " 
//('. of Fame, 1. 062 : 

" And gladded me av more and more ; " 
Piers Plo'u:, Vas. vi.. 1. I2I : 

"Shal no greyne that growetli glade yow at nede ; " 
Tcnif>. of Glas, 1. 1 2 1 1 : 

" Hertes to glade itroubled with derkness ;" 
Browning, King an J Book, p. 57 : 

"What else shall glad our gaze." 
Cf. Wvclif Magiiificaf.- " My spirvt hath gladed in God mvn helthe." 
Lydgate also uses, 1. 532, "reioyse" {==make glad) which came to take the 
place of glad in this sense. 

1. 3S9. f'fiylosopliyrs anJ f>oetcs. Lydgate follows Dante in placing the 
pagan philosophers and poets in Hell. See Inferno, c. iv. Dante men- 
tions among the ancient teachers Socrates, Plato, Democritus, Diogenes, 
Anaxagoras, Thales, Empedocles. lieraclitus, Zeno. Dioscorides, Orpheus, 
Tullv, Linus. Seneca, Euclid, Ftolemv. Hippocrates, .Vvicenna, Galen, and 
Averrhoes. and of course, Virgil, Homer, Horace, C^vid and Lucan. These 
were in the First Circle, which contained the spirits of those who lived vir- 
tuouslv but without Christianity. This is such a list as Hawes gives of 
those who have achieved fame, and also Douglas of those wiio inhabit the 
Palace of Honor. 

P» I3» 1- 397- Orace, Ouyde and Omtre. This is the common spelling of these 
names. Cf. Chaucer, Ho. of Fame \\. 1466, 1477. 14S7. Omerus is found 
in SecreesX. 378, etc. Euclyte occurs in Min. P. p. SS. 

1. 400. Orpheus. He is mentioned also in Temp, of Glas (1. 130S), playing 
upon a harp. 

1. 402. carpe. Commonly meaning to talk, the term is sometimes found 
applied to music, as here. Often in Lydgate in the sense of talk. Cf. 
Chorl and Bird, Min. P., p. 191 : 

" It ware but foly withe the more to carpe "; 
Secrees, 1. 70S : 

"To whoos counsayl in Arrabye folk carpe," etc. 
See carpyng, 1. 430. 

1. 404. /(' la'UY. Cf. Chaucer. Cant. Tales, Pr. 1. 474. " lawghe ; " Pieis Plow., 
iv, 1. 153, "lawghyng;" and Secrees, 1. 2535 : 

" Man which lawheth with wyl and herte." 

1. 40S. foyson. Cf. Chaucer, Ml. Tale, Pr., 1. 57 : 

" So that he fvnde Goddes foyson there " ; 
Lydgate, Chorl and Bird, Min. P., p. 1S4 : 

" And of alle deyntes plente and foisoun ; " 
Secrees, 1. 1644 : 

" Or drvnk old wyn in greet foysoun." 
It is used in The Tempest, II. i. 



Notes. 



73 



1. 413. the fest of Peleus. The story is that Discord (Eris), being excluded from 
the feast of Peleus and Thetis, threw among the company a golden apple 
inscribed "To tlie fairest." Then arose the dispute between Here, Aphro- 
dite and Athena, wherein Paris was involved as judge of the fairest. The 
prize fell to Aphrodite, who gave to Paris Helen, whence rose the Trojan 
war. This was one of the most famous of the mediaeval tales of romance. 
The strife of the goddesses is recorded in Gower's Conf. Am. Bk, V. The 
story is referred to in Temp, of Glas, 11. 461-67. Robert of Bruune gives a 
full account of the rape of Helen and the causes thereto in his Chron. 11. 
459 tf/ seq. 

1. 425. what in the deuylls date. The meaning of this exclamation is indicated 
by a passage in Skelton's Spe/ce, Parrot, 11. 437-38 : 

" Kyn God, rynne Devyl! ! yet the date of ower Lord 
And the date of the Devyll dothe shrewlye accord." 
The Marriage charter of Lady Mede in Piers Plow. (Pass, ii) is sealed "in 
the date of the devil," as other documents are written in the date of the 
Lord. Cf Skelton, Bowge of Court, 11. 375 and 455 : 

" Lete theym go, lowse iheym, in the deuylles date " ; 
Alagnificence 11. 2198 and 954 : 

"What neded that, in the dyuyls date I " 

1. 426. howe the game gooth. Cf. Ro7n. of the Rose, 1. 5030 : 
" But how that evere the game go." 

P. 14, 1. 441. woo be goon. The opposite phrase is "well begon " as in Roman of 
the Rose, 1. 693. 

I. 447. my dart. In mediaeval imagery Death is most often represented as a 
skeleton figure hurling against all men a spear or a dart. Cf. Mirrour of 
the Per. of Man's Life: 

"Now schaketh he his spere to smite me" ; 
Cottrt of Love, 1. 294 : 

"Though Deth therefore me thirlith with his spere"; 
Occleve, De Reg. Prin. (ed. Wright, p. 76) : 

" Death might have stayed his dart for a time." 
See text 1. 1935. 

The identification of Atropos (here a male figure) with Death is one of the 
curious features of the poem. Cf Temp, of Glas, 1. 782-3: 
" Right so shall I, til Antropos me sleithe 
For wele or wo, hir faithful man be found." 
Atropos is one of the fates in Story of Thebes, fol. 374. 
Cf. Bullein, // Dialogue against the Fev. Pest. (E. E. T, p. 1 14) : 
" Me thinke I doe see the fearful horseman lighted in the valley with a mar- 
velous fearful saying, F.n adsum vobis mors vltima linia rertim, etc. Oh, 
where shall we hide vs from him ? He casteth forthe his HI dartes, and 
taketh them vp again it is merciless Death most fearful," etc. 

II. 449 et. seq. Death's pateftt. It was one of the favorite subjects of contem- 
plation how death brought every man to an end, however exalted his estate. 
It was customary to refer to the "Nine Worthies"' by way of illustration; 
these were Joshua, Gideon, Samson, David, Judas Maccabaeus, Alexander, 
Julius Caesar, Charles the Great, and Godfrey of Boulogne. When it was 
desirous to prove that the world was false and vain, the question would be 
asked. Where now is Solomon, Samson, Absalom, Jonathan, Caesar, Dives, 

' The Nine Worthies furnished stock illustrations to a late dale. They are constantly referred 
to by the dramatists as by Ueaiimont and Fletcher in Thierry and Theodoret fDyceed. Lp. 
143), Laws of Candy (V, p. 331), The Double Marriai;e fV'I, p. 387), The Prophetess 
(VIII, p. 266). They appear on the stage in character in Middleton's The World Lost at 
Tennis (Bullen ed. VII, p. 165), where they are described by Pallas as they dance in the 
masque. They were favorite subjects for tapestry (Weberj as appears in beau, and Fl. 
Doub. Mar, (Dycc ed. VI, p. 387) : 

" Thou woven Worthy in a piece of arras. 
Fit only to enjoy a wall." 



74 



Notes. 

Tully, or Aristotle (see Hymns to the Virgiit, E. E. T., p. 86 — c. 1400). 
Chaucer's list of those who have been brought low is given in the Monk's 
Tale; they are Lucifer, Adam, Sampson, Ercules, Nabugodonosore, Balthazar, 
Zenobia, Petro (of Spayne), Petro (of Cipres), Barnabo, Hugilin, Nero, Oli- 
phern, Antiochius, Alisaunder, Julius Cesar and Cresus. Hawes enumerates 
these whom Fame holds in remembrance : Hector, Josue, Judas Machabeus, 
Davyd, Alexander, Julius Sesar, Arthur, Charles and GoAircy (Past, of Pleas.) 
To illustrate the theme that all stand in change like a midsummer rose, 
Lydgate cites elsewhere David, Salamon, Jonathas, Julius, Pirrus of Ynd, 
Alexander, Nabigodonosor, Sadociopall, Tullius, Crisostomus, Omerus, Senec, 
and many knights (Min. P., p. 22 ; see also p. 122). Cf. the tone of the 
Roxbury Ballad Farewell to the World: 
"For worldlie pleasure is but vanitie; 

None can redeeme this life from death, I see ; 

Nor Cresus' wealth, nor Alexander's fame. 

Nor Sampson's strength, that could Death's fury tame." Rox. B. II, p. 25. 
In that most doleful of poems Wiggleworth's Vanity of Vanities the motive 
is repeated in a new land : 

"If Beauty could the Beautiful defend 
From Death's dominion, then fair Absalom 
Had not been brouglit to such a shameful end ; 
But fair and foul unto the Grave must come. 

If Wealth or Scepters could Immortal make. 
Then wealthy Croesus, wherefore art thou dead ? 
If Warlike-force which makes the World to quake. 
Then why is Julius Caesar perished ? 

Where are the Scipio's Thunderbolts of War ? 

Renowned Pompey, Caesar's Enemy ? 

Stout Hannibal, Rome's Terror known so far ? 

Great Alexander, what's become of thee ? 

— Libr. Amer. Lit. II, p. 17. 
See also Lydgate's Dance of Macawbre and Story of Thebes, fol. 387 ; Barc- 
lay's Ship of Fools, I, p. 264 ; Love's Labor's Lost, VI, 130 ; V, Sc. I. 1. 130 ; 
Southwell's Linage of Death, etc. Petrarch's Triumph of Death may also be 
compared. 

15, 1. 470. Nabtigodbnozbr. This is the pronunciation in Chaucer. The spell- 
ing Nabuchodonosor occurs in the Vulgate (Dan. I., iv) ; this is the usage of 
Gower (v. Conf. Am. Bk. I, near end), and Chaucer {Monk's Tale, 1. 155; 
Ho., of F. 1. 515), and Langland {Piers Plow. Pas. vii, 1. 153). 

1. 471, Pharao is the spelling of the Vulgate ; Chaucer has Pharo {Ho. of F. 
1. 516) but Pharao in Bk. of the Duck. 1. 282. 

1. 490. aldyrs. The final s must be a scribal error ; but cf. 11. 579, 599. 

1. 492. Cf. Chaucer, Knights Tale, 11. 445-8 : 

" O cruel goddes, that governe 
This world with byndyng of youre word eterne 
And wryten in the table of athamaunt 
Your parlement and your eterne graunt." 

1. 493. pesecoddys. This is the form employed by Lydgate in Min. P. p. 1 05, 
Secrees 1. 1374, and by Langland in Piers Plow. Pas. vi, 1. 294, xiii (C), 
1. 221, and by Skelton Why come, etc., 1. 108. The Secrees has 
" Benys rype and pesecoddys grene." 

16, 1. 499. 3r(2j'(/d'= started up. Cf. yEsop, F"ab. 2. 1. 90 : 

"Til sodainly al abrayde"; 
Temp of Glas, 1. 1054 : 

" Til at the last of routhe she did abraide "; 



Notes. 7 5 

Secrees, \. 308 : 

"Till I abrayde in purpoos to resorte." 
See "braid," N. E. Diet. 

1. 501. boody, blood and boonys. " Blood and bone " is a common formula in 
the Metrical Romances. 

1. 503. malapert. Cf. Lydgate. Min. P., p. 23: 

"Clatering pyes .... 
Most malapert there verdit to purpose " ; 
idem p. 166 : 

" Maleapert of chiere and of visage " (said of a jay). 

1. 513. leyte. The other texts read " leytenynge " — which is, of course, meant, 

1. 530. kyt fell on a day. Lydgate has this formula in Min. P., p. 74 : " It fil 
on a tyme." 

'1. 530. wedyr. Weddiris still the folk pronunciation in portions of Scotland. 
Cf. Barbour's ^r//r6' III., 1. 387: 

" Till wyntir weddir war away." 

P. 17, 1. 534. dresse^=^\x&z\.. See 1. 1512 : " Myn ey gan I dresse." Cf. Chaucer, 
Ml. Tale, 1. 282 : 

" And to the chambre dore he gan him dresse ;" 
Gentl., 1. 3 : 

" Must folowe his trace and alle his wittes dresse." 

I. 550. ray. Ray means properly a ray, streak, stripe ; but was commonly 
used to designate a striped cloth (Skeat). See Lyd., Land. Lackpenny, 
"a long gown of raye''' The plural is found in P. PI. Pas. v, 1. 211, 
"Among the riche rayes." Barclay (Ship of Fools, I, p. 35) refers to honest 
ray^striped cloth. See Jl/ein. of Land. ed. Riley. I. p. 109 for definitions^ 
"one piece of striped cloth." Cf. Peele, Edward I., Sc. 6, 1. 22 : 
" My milk-white steed treading on cloth of ray." 

1. 561. Cf. Chaucer, Man of L. Tale 1. 483: 
"But tourne ayein I wil to my mateere ; " 
I-ydgate Min. P. p. 140 : 

" But to resorte ageyn to my mateere." 

1. 562. And to I begyn | ne new | e where | I l^ft. Few lines run as 
smoothly as this. The final e comes naturally into use. 

1.563. besy peyn. The phrases "besy peyn " and "besycure" are very 
common in Lydgate and Chaucer. See Lydgate's Min. P., p. 87 ; ALsop, 
Fab. 2, 1. 55, f'ab. 6, 1. 136; Secrees, 1. 738,'ioi2; Chaucer, Pari, of F. 1. 
369; Compl. 1. 2, 119, etc. This text has it again in 1. 746. Spenser uses 
the phrase as in Faerie Queene V. xii. 26. 

P. 18, 1. 597. nat ivorth a peere. The writers of the period had a variety of ex- 
pressions signifying worthlessness. See 1. 493, not give 2 pesecoddes ; 
1. 560, rekke nat a strawe ; 1. 1607, then a myte. Cf. MorL d'Art. XV., cap. 
vi (ed. Southey, II. p. 254) : 

" Vayne glory of the world, the whiche is not worth a pere." 
Chaucer has " Not worth a myte" in Knights Tale, 1. 700, Sotnp. Tale, 1, 253, 
Sec. N. Tale, 1. 5 1 1, Ch. Yem. Tale, Pr. 1. 80 ; " Not worth a fiye " in Pari. ofF., 
1. 501; "Not worth a bene" in Merch. Tale. In the Rom. of the Rose are 
"Not worth a croked brere," 1. 6191 ; and "Not worth an hen," 1. 6856. In 
Piers Plozv. is "She counteth nought a russhe," Pas. iii, 1. 141. Gower 
uses "Not worth a kerse," Conf. Am. I, p. 334, and "Not worth a stre," I, 
p. 364. Skelton has "Set not a nut shell," Col. CI. 1. 1227. Cf. Dunbar, 
Fre. Hon. and iVob. 1. 42 : 

" Set not by this warld a chirrv." 
Douglas says (Works II, p. 116, 1. 19) : " I compt it neuir a myte." 



76 Notes. 

1. 600. </<;v--=injuie. Cf. Koin. of the Rost\ 1. 4336 : 

"Mav fallo a wcdcr that shal it dere." 

1. 601. a sou of niyuc. With what an imperfect imagination I.ydgate grasps 
the symbolism of liis poem may he gathered by comparing this mere reler- 
enceof \'ice as the bastard son of Pluto \vith the mighty passage in Mil- 
ton's /'t?;-. Zo.f/ (Bk. X) which describes the relationship of Satan and Sin 
and Death. Then I have misgivings for having attempted to revive this 
Lydgate ; one then realizes the force of Prof. Lounsbury's remark in his 
Studies in Chaucer that it is unfortunate that the dead past cannot bury 
not only its dead but its bores. 

1. 602. y««'rt;-(/= reduction of vantward. Cf. Shakes. Hen. J', iv, 3: 

" 1 beg 

Mv lord, most luimblv on my knee 

The leading of the vawan.1." 

This ft)rm is found as late as Drayton's Ai^ineotirt, Ode XII : , 

" The eager vaward." 

P. 19, 11. 610 <■/ .ftV- the battle. Bunyan's Ho/y //i/r offers many parallels lo the 
conduct of this battle. Thus we are told that the Father appointed his Son 
to captain the forces of Good, that Emanuel chose five captains to accom- 
pany him. captains Credence, Good-hope, Charity, Innocent, and Patience, 
each with a standanlbearer and holy escutcheon to advance ten thousand 
men. Emanuel rtnle at their head in a chariot. The army of Diabolus had 
set over it other captains : Diabolus the King, Incredulitv. the Lord-general. 
the seven chief captains Beelzebub, Lucifer, Legion, Appollyon, Python, 
Cerberus and Belial, and minor captains Rage, Fury. Damnation, Insatiable, 
Brimstone, Torment, No-ease, Sepulchre and Past-Hope. This army, 
uncountable in number, set out from Hell-gate Hill and came by a straight 
course toward Mansoul. whose five gates (the five senses) they attack with 
varying fortune though with ultimate defeat. The general tiuestion of 
Bunvan's sources antl models has not been fully considered. While it is 
apparent that he drew almost wholly from the Bible and his own conscience, 
vet his work must have been in part determined by the traditional accounts 
of Mansoul's Wars. 

\. 612. <iere)'g»e=sci in order, prepare. Cf. Chaucer, A'nig/its Tale, 1. 773: 

" Bothe suftisient and mete to darreyne." 
Cf. Spenser, F. Q. IV. iv. 26 : 

" Unable he new battell to darraine." 

1. 617. I'yce, etc. It is possible to form from the drawings, Moral Plays and 
literature of the period a very accurate picture of the different vices as 
objectified in human symbol. If Lydgate is wanting here in descriptiveness 
it is probably because the work of delineation had been done before him 
and nothing more was needed beyond mere mention. Langland in Piers the 
Plowman (Pas. v) is especially realistic and dramatic : 
" Now awaketh Wratthe with two whyle eyen, 

And nvuelvnge with the nose and his nekke hangynge ; " 
" Thanne come Sleuthe al bislabered, with two slymy eighen ; " 
"Eche a worde that he (envy) warpe was of an addres tonge. 
Of chvdvnge and of chalangynge was his chief lyflode. 
With bakbitvnge and bismer and beryng of fals witnesse." 
See especially Covetousness quoted beUnv (1. 626). 

In such character the Vices were kept constantly before the people in play and 
pageant, which practice was continued until late as witnessed by Richard 
Tarlton's play of the Seven Deadly Sins, in which Lydgate himself is 
presented as moving the scenes (cf. Collier, Hist. Dr. P. HI, p. 3g4). and by 
such a remark as that made by Dick Bowyer in Tryall of Chevalry (c. 1605, 
Old Plays, ed. BuUen. Ill): "If I had a pageant to present of the seven 
deadly sinnes. he should plav Slouth." So long as these characters remained 



Notes. 7 7 

before the people Lydgate's description was sufficient. I make this note 

because everywhere the relation between the pictorial, scenic and literary 

art of the period must lie emphasized. 

For the subjective conception see Chaucer's Pers. Tale and Gower's Conf, 

Am. etc. For a later characterization see Day's Tractates (c. l6oo) ed. 

Bullen. 

1. 617. cure boyle. This is one of many expressions relating to tournament 
which were introduced into literature, in this case from the French, during 
the Middle Ages. It means literally "boiled leather." It seems that the 
knights wore under their coat of mail a garment made either of silk and 
then called " wafenhemd " or of leather and called "curie." The latter 
garment was worn in France. It was made of strong leather made pliable 
by boiling. Chaucer in Tale of Sir Th. 1. 164 uses the phrase, "His 
jambeaux were of quirboily," the term being interpreted as "tanned 
leather." Prof. .Skeat (notes to Pr. T. p. 166) gives references to Marco 
Polo (ed. Yule, II, 49) where the men of Carajan are said to wear " armes 
cuiraces de cuir bouille ;" also to Froissart (V. IV, cap. 19) who says 
the .Saracens covered their targes with "cuir bouille." The term occurs in 
Barbour's Bruce XII 1. 21-2: 

" And on his basnet hye he bar 
Ane hat off qwyrboUe ay-quhar." 
In Recuyell of the Hist, of Troye "armed well with quyer boullye " translates 
the Fr. "armez de moult beaux habillemens courroyez.'' 
See Cutts, Scenes and Char, of M. A., p. 344. 

1. 620. croppeand roote. Lydgate makes a very frequent use of this formula. 
See Tetnp. of Glas, 1. 455 : 

"Humble and benygne, of trouth crop and rote." 
See Schick's references in notes to Temp, of Glas, p. 98. Chaucer has it in 
Troyl. and Crys., II., 1. 348 : 

" And ye, that be of beaute crop and roote." 
It occurs in Dunbar, The Flytittg, 1. 73 : 

" Thow crop and rute of traitouris tressonable." 
It is an expression still common in Scotland (W. Gregor). Dunbar has 
also "crop and grayne " {'The IVarldis Instab., 1. 99). Lydgate in Min. P. 
uses "roote and grounde " (p. 123), " gynnyng and roote" (p. 125), 
"gynnyng and ground" (238), and in this poem "roote and rynde " (1. 66). 
Caine in The Manxman (ch. xxii.) has "neck and crop" and Meredith the 
same phrase in The Ordeal of Ricli. Feverel. 

1. 621. P)'yde. Pride is put the first as the master sin; by that sin fell the 
angels : 

"For Lucifer with hem that felle 
Bar Pride with him in to helle " — Gow., Conf. Am., I., p. 153. 
He appears again as General of the Army of Sin in Day's Tractates (Tract. 
7, ed., Bullen, p. 55). See Introd. p. Ixxii. 

1. 622. Pryde on a lyon, etc. In the symbolism of the Middle Ages animals 
were used as signs of vices and virtues. The custom was started by the 
theologians, notably Jerome. In certain of the sa.r\y Bestiares, as \.he A'enart 
le Nouveliyi^'i'i) the animals were first associated with the Moralities. Dante 
in entering the dark wood was confronted by a leopard, a lion and a wolf, 
typical of certain sins. In the Aucren Riwle the symbolism is well estab- 
lished. In the processional described in the Faerie Queene (I., iv.) Idleness 
is seen riding upon an ass, Gluttonvon a swine, Lechery on a goat. Avarice 
on a camel, Fnvy on a wolf and Wrath upon a lion. Bunyan makes some use 
of this traditional symbolism in the lions that guarded the palace Beautiful. 

1. 622. Enuy. Envy is personified in the Temp, of Glas, 1. 147; cf. also 
Pom. of the Pose, \. 248; Court of Love, 1. 1254, etc. For the portrait of 
Envy see Spenser, /". Q., V., xii., 29-32. 



78 Notes. 

1. 626. Couelyse. A fine description of Covetousness is drawn by Langland 
in Piers Plow. Pas. v., 11. 188-94 : 

"And thanne cam Coueytise .... 

So hungriliche and holwe, sire llervy hvm loked, 

lie was bitelbrowed and baberlipped also, 

With two blered eyghen as a blynde hagge ; 

And as a letheren purs lolled his chekes, 

Wei sydder than his chyn thei chiueled for elde ; 

And as a bondman of his bacoun his berde was bidraueled." 
This Vice is often mounted upon a horse that he may speed more quickly, 
as in Evil Times of EiL, IF. (Polit. Songs, p. 326) : 

"Coveytise upon his hors he wole be sone there 

And bringe the bishop silver, and rounen in his ere." 
Covetise is personified in the Temp, of Glas, 1. 244. The fifth book of 
Gower's Coiif. Am. is devoted to Avarice. 

1.627. olyfaunt. This is the spelling of Maundeville and Skelton. " Oli- 
phantes " is found in Lyndesay's Monarche, 1. 2295. 

1. 631. Sloivthe. Sloth is personified in Temp, of Glas, 1. 244. See Rom. of 
the Rose, 11. 531, 593, 1273, etc. ; Faery Queene, I., iv, 18, etc. 

1. 636. Symony. Note the feeling of Langland in this matter, Piers Plow., 
. Pas. ii., 11. 62-3, 86 : 

"Ac Symonye and cyuile and sisoures of courtes 
Were most pryue with Mede ;" 
the priests wish to live in London 

"And syngen there for symonve for silver is swete." 
See Dante's Inferno (c. xix.) for the punishment of the guilt of Simony. 

P. 20, 1. 640. lelacy. Jealousy is personified in the Temp, of Glas, 1. 1 48. See Rom. 
of the Rose, 1. 3820; Pari, of F., 1. 252; Qiiair, 877. 

1. 644. Vsury. Usury was the special sin of Avarice (v. P. PL, Pas. v., 1. 
240-52). All usury was prohibited as a sin by the Canon Law (Southey, 
Bk. of the Church, p. 1S7). It was the theory of the schoolmen that the tak- 
ing of interest was unholy since money was not of itself productive. Dante 
consigned usurers to one of the lowest regions of Hell. The continued pre- 
judice in England against the money lender is testified by Shakespeare's 
Merchant of Venice, and Bacon repeated the old theory, " It is against nature 
for money to beget money." Cf. a Roxbury Ballad (L, p. 426): 
" The Usurers follow. 

That pawnes have in hand ; 
With whoop and with hollow 

They call for the Land 
Which spend-thrifts pawne to them 

W' hile for cash they hye ; 
To live to undoe them 

This bargaine they'l buy." 
1. 648. Boldnes \ in YIT'\ with Foul \ e Ry \ baudy. In this line the final e 
in foule seems to be pronounced. But Text B and the Prints read Foule 
and Rybaudy. 

1. 655. A'ew-fangylnes. The love of novelty seems to have been considered 
a special vice of the times. Lydgate in Min. P. (p. 71) speaks of "the ser- 
pent of newfangelnesse " and says (p. 60) : 

" 1-bannysshed have newfangelnesse 
And put in his place perseveraunce." 
Chaucer writes against "Women Unconstant ": 
"Madame, for vour newe fangelnesse 
Many a servaunt have ye put out of grace .... 
To newe thing your lust is ever kene." 
See also ^w. and Arc, 1. 141 ; Leg. of G. Wom., Pr., 1. 154. Nichol New- 



Notes. 



79 



fangle is the "Vice " in the interlude Like will to Like (1568). This is also 
one of Stubbes' "Abuses " (p. 31). 

1.666. Idylnesse. Lydgate calls Idleness the " Moder to vices" (Min. P., 
p. 88) and the " Chief porteresse" of the vices (Min. P., p. 68). In yEsop 
he says again that " Vice alle proceden of idelnesse." Cf. Chaucer, Sec. N. 
Tale, 11. 1-3 : 

"The ministre and the norice unto vices, 

Which that men cle|)e in English ydelnesse, 

The porter of the gate is of delyces." 

1.668. but there was an {^h^ost! Considering the chief vices as roots and 
stems, the secondary branches and twigs become innumerable. Thus Chaucer 
enumerates in the Pets. 7'ale among the twigs from the root of pride inobe- 
dience, avaunting, ypocrisye, despit, arragaunce, impudence, swellyng of 
hert, insolence, elacioun, impacicnce, strif, contumacie, presumpcioun, irrev- 
erence, pertinacie, and veinglorie. This gives material and scope for incal- 
culable growth and differentiation. Give the fancy play and in a moment 
one exclaims with Barclay {S/iip 0/ Fools, I., p. 4) : 
" For yf I had tunges an hundreth : and wyt to fele 

Al thinges natural and supernaturall, 

A thousand mouthes : and voyce as harde as stele, 

And sene al the seven sciences lyberal, 

Ytt cowde I neuer touche the vyces all, 

And syn of the worlde : ne thevr braunches comprehende : 

Nat thoughe I lyued vnto the worlds ende." 
For the abundance of vices of the time of Henry VIII., v. T/ie Hy Way to 
/■//^ 6y>///-//£'«5^ (Bartholomew's Hospital, London): description in Furnivall's 
ed. of Capt. Cox, etc. (Ballad Soc.) p. ci-ciii. — twenty-three sets of unfortunates. 
See especially the list of "unthrifts," p. ciii. Cf. Wyclif's list of sins in 
Fifty Heresies and Errors of Friars (ed., Arnold, III., p. 366). Cf. the 
vices that voyage in Barclay's Ship of Fools ; also those satirized in Skel- 
ion's Bozi'ge of C^ui't a.nA iht \\f.\. of rogues in the Miracle Play, The Last 
Jndgnie7it (Roxburge Club). For the species of rogues and vagabondes in 
Elizabethan England, cf. Thornbury, Shaks. Engl., I., ch. viii.; Decker's 
English Villanies, Harrison's England, II., ch. xi., passim; Three Tracts 
about Old Rogues, ed. by Viles and Furn. (N. Shaks. Soc); Stubbes' Anat- 
omy of Abuses (N. Shaks. Soc). These enumerations throw much light upon 
the practical life of the time. Many of the Commons in Lydgate's list are 
not known to us even by name. 

P. 21, 1. 673 et. seq. Langland groups " bakbiteres, breke-chestes, brawleres and 
chideres" {P. PL, Pas. xvi., 1. 43). 

11. 674, 676. /rtjfrj=boasters, crakers^=vz.\x\i\.^xs. See Skelton, Garl. of Laur., 
11. 188-9 : 

" Some lidderons, some losels, some noughty packis ; 
Some facers, some bracers, some make great crackis ;" 
Borde, Bk. of Knowl.: 

" I wyll boost myselfe, I wyll crake and face ;" 
Barclay, Ship of Fools', I., p. 198 : 

"For greatest crakers ar nat ay boldest men. 

1. 679. scismatykes. Cf. Piers Plow., Pas. xi., 1. 1 14-15 : 
"For Crvste cleped vs alle come if we wolde, 
Sarasenes and scismatikes and so he dyd the lewes." 

1. 681. coyn wasshers and clyppers. For the evil of counterfeiting, etc., cf. 
Iloccleve's Complaint, Min. P., xxi. 

1. 685. tregeiours. For the pretentions of these tricksters see Frank. Tale, 11. 
413-20: 



So Notci. 

" Which as the subtile tregetours pleyen 
For oft at festes have I herd seven, 
That tregettoures, withinne an halle large, 
Han made in come water and a barge, 
And in the hall rowen up and doun ; 
Sometyme hath semed come a grym leoun 
Som tvme a castel al of lym and ston, 
And whan hem liked voyded it anon." 

1. 691. stalkers by flight. A proclamation was made in London in 1329 
to the effect that no one should be so daring as to go wandering about the 
city after the hour of Curfew (see Meinor. of Lond., ed. Riley, I, p. 173 ; II, 
p. 482). 

1. 692. hrekers of lofedayes. Love-days were days fixed for settling differences 
by umpire. Cf. Cov. Jllyst : 

" Now is the love-day mad of us foure fynially, 
Now may we leve in pes as we were wonte." 
A passage in Wyclif's Tracts (Works, ed. Arnold III, p. 322) throws light 
upon the custom. We see knights and yeomen kneeling in the castle 
chapel, a general gathering in the hall, statements from both sides, arbitra- 
tion and reconciliation (Arnold). 

1. 693. getters. Cf. Barclay, Ship of Fools., I, p. 146 : 

" Ye wasters and getters by nyght." 
In Bunyan's Pilg. Prog, is a schoolmaster who taught the art of "getting" 
either by violence or cozenage, flattery, lying, etc. 

1.694. Tytyuyllys. Any person with evil propensities (Collier). Douce derives 
the name from Titivililium, a word used by Plautus. Collier suggests its 
derivation from totus and vilis. He appears in The Mirroiire of Our e Lady e 
(E. E. T. p. 54) saying " I am a poure dyvel and my name ys Tytyvyllus." 
His office was to bring to his master every day one thousand bags of sylla- 
bles skipped in reading and singing the divine service in the churches. He 
appears in this character in MS. Lansd. 762 (quoted by Wright ): 
"Ilii sunt qui Psalmos corrumpunt nequitur almos : 
Jangler cum jasper, lepar, galper quocjue, draggar, 
Momeler, for-skypper, for-reynner, sic et over-leper, 
Fragmina verborum Tutivillus colligit horuin." 
He became a common figure in the plays as any evil fellow. He is one of 
the devils in the play of The Last fitdgment, where he seems to be a church- 
man opposing the heresy of Wyclif. He is a fiend in a Townely Mystery 
(pp. 310, 319) and a lawless fellow in Ralf Roister Doister. He is a fiend in 
Mankind representing the sin of the flesh. Skelton {Col. CI. 1. 41S) uses the 
phrase " and talkvs Ivke tvtvuelles," probably here a tale-bearer, in which 
character he appears in Rogues and Vag. (N. Shaks. Soc. p. I5). In Stubbes' 
Anat. of Abuses he is a flatterer (p. 122). The word occurs again in Skel- 
ton's Garl, of L.aur., 1. 642. See Collier, Hist. Dr. P. II, pp. 146, 297, 223; 
Dyce's notes on Skelton ; notes to Myrrour of O. Ladye, p. 342. 

1. 696. <rara'(?rj=card-pl avers. For the punishment for cheating at play see 
Ale/n. of Lond. (ed. Riley, II, p. 395). "Turning the tables" was one 
method of cheating. 

1. 696. closskers. This was a kind of game. Cf. Stubbes" Anat of Ab. 
notes p. 316: an act of Hen. VIII. — "noe manner of person shall .... 
kepe . . . an)' alley or place of bowlinge Coytinge, Cloyshe, Coyles, etc." 

1. 697. Tyburne. The place of execution in London. Cf. Rowland's A 
Fooles Bolt is soone Shot: 

"Of Tvbourne (i. e. the gallows) common hve-way cannot favle." 
Harrison (England II, ch. 16) calls the halter a " Tiburne tippet." This 
was also the name of a prison in London. Coloppys means pieces of meat, 



Notes. 8 1 

used figuratively often for children (as in I. Hen. vi, v. 5). "Tyburne 
coloppys " may have been a slang phrase. Cf. Cocke Lorelles Bote, C. i. a. 

1. 698. double lollyng wji/Z/tv^ = those millers who tolled with a too "golden 
thumb." 

1. 702. ^-o/wj^receivers of stolen goods etc. Cf. Stubbes' Anat. of Ab. 
Pt. II., p. 40- 

1. ']0'].sotyll aw^i(/^x/r« = Jacks-of-both-sides. "Ambidexter is that jurous 
or embraceour that taketh of both parties for the giving of his verdict" (Cowell'r 
hiterprete7'^. A tricksey character called Ambidexter appears in Bullein's 
Dialogue against the Fev. Pest. (E. E. T. p. 20), Cf. Middleton, Fam. of 
Love, V, 3 : " I'll play Ambidextei " ; also Peele, Sir Cly. and Si}- Clam., sc. 
vi, 1. 77. In an early American poem by Ebenezer Cook reference is made to 
"an ambidexter Quack 

Who learnedlv had got the knack 

Of giving glisters, making pills, 

Of filling bonds and forging wills " — Libr. of Amer. Lit. II, 273. 
Stubbes in his Anatomy of Abuses sp^sks oi " doble dealing ambodexters" 
(p. 141). 

1. 708. Sodomytes. Used by Stubbes to signify fornicators {Anat of Ab. 
I. p. 145). 

P. 22, 1. 710. 'ivetewoldes that suffre syn in her syghtes. A wittol was a tame 
"cuckold" — one who had knowledge of his wife's infidelity. Skelton, 
Garl. of Laur, 1. 187, refers to " wetewoldis." Middleton in Chast Maid of 
Cheapside gives a picture of one. Cf. Shaks. Mer. W. of IVind., II, 2 : 

" But cuckold ! wittol-cuckold ! the Devil himself hath not such a name." 
Cf. Loves' s Labour's Lost, v, 904-12 : 

"When Daisies pied and Violets blew 

And Cockow-buds of yellow hew , 

And Ladie-smokes al silver white. 

Do paint the Meadowes with delight, 

The cuckow then on everie tree 

Mocks married men ; for thus sings he. 

Cuckow ! 

Cuckow ! Cuckow ! O worde of feare, 

Unpleasing to a married eare." 

1. 711. abhominable. This is the regular spelling of the N. E. abominable in 

0. Fr. and in English from Wyclif to the seventeenth century. This spelling 
IS defended by Holofernes m Love's Lab. Zoj/ against the " racker of orthog- 
raphy" who would say abominable. 

1. 711. auauntours. Cf. Chaucer, Z'^'^. Tale: "Avauntour is he that bosteth 
of the harm or of the bounte that he hath don." 

1. 713. vnthryftys. Cf. Barclay, Ship of Fooles, I, p. 2 : 
" But such Unthriftes as sue theyr carnal lust." 

1. 714. loselles. Cocke Losel or Lorel was a generic term for a rascal. Cf. 

Browning, Strafford. Ill, 2, 1. 170. 

1. 717. for to say. The common M. E. usage. "For to fet," 1. 1 155. 

1. 727. L will auauntage take where I may. Cf. the words of Legion in Bun- 
yan's Holy War: " Therefore let us assault them in all pretended fairness, 
covering our intentions with all manner of lies, flatteries, delusive words." 

1. 732. mortall = equivalent to "lethalis," deadly. Cf. yEsop, Fab. 4, 1. 34, 
"Of mortal hunger." 

1. 732. shoure — conflict, struggle. O. E. scur. Commonly applied to the 
assault of battle. See line 1042. 



82 Notes. 

1. 742. to me ward. Toward was frequently divided and the object inserted 
between the parts as here. Cf. II Cor. 3:4: "And such trust have we 
through Christ to God-ward." 

P. 23, 1. 748. Ymaginacioti. Note the part played by Imaginative in Piers Plow. 
Pas. xii. 

1. 760. nioivte. Mowe and mowte are common in M. E. See 1. 264 where 
mought rimes with fought. 

1. 766. lest and tnoost. A common formula in Lydgate, Chaucer and other 
writers. Cf. Ck. Tale, I. 460 : 

" Faire they were welcomed bothe lest and meste." 
Langland {Piers Plow., Pas. ii, 1. 45) has "the lasse and the more." 

1. 773. trayne. Cf. Fairfax's Tasso, II, !. 89 : 

"So lions roar, enclos'd in train or trap"; 
Fairy Qiieene, Bk. I, c. iii, st. 24 : 

" By traynes into new troubles to have toste." 
Milton has "wily trains" in Comus, 1. 1 5 1. Shakespeare uses it once in 
this sense in Macbeth, IV. 3. 

1, 773. coltrop = 2i pointed iron instrument strewn in battle fields to hinder 
cavalry. Cf. Beaumont and Fletcher, Love's Pilgrimage : 
"I think they ha' strew'd the highways with caltraps. 
No horse dares pass 'em." 
It occurs in Middeton, JVomen Beware Women. Cf. the proper name 
Caultrap. 

1.776. Vyce hys. See "Vertewhys," 1. 798 etc. The corruption of his 
for O.E.-es, the genitive termination, is found as early as Layamon's Brut; 
"P^or Gwenayfer his love." "Inewas the forste men that Peter his peny 
bigan" iSVi//, (B.) III., 1. 285. Th^ Prayer Book \\2.?,'''Y ox Christ his sake." 
Cf. Stubbes' Anat. of Abuses (1583) p. 75 : "Every poore Yeoman his 
daughter, every Husbandman his daughter, and every Cottager his daughter." 
This use occurs in Spenser, Shakespeare and Bacon and did not die out until 
dhe eighteenth century. Ben Jonson, English Grammar XIII, calls it "the 
monstrous syntax of the pronoun his joining with a noun betokening a 
possessor"; and yet Addison, Spectator No. /jj, writes that " the same single 
letter (s) . . . represents the //w and her of our forefathers"; v. Marsh Lec- 
tures XVIII (Percival). In Guardian No. q8 Addison writes: "My paper 
is the Ulysses his bow." The use extended to the feminine gender and the 
plural number (v. Cent. Diet, under his'^). 

1.776. purseuaunte. Cf. Chaucer, Ho. of Fame, 1. 1321 : "The purse- 
vauntes and heraudes"; Flow, and Leaf, 1. 232 : "Of heraudes and purse- 
vauntes eke." Shakespeare has: "These gray locks the pursuivants of 
death" [Henry VI, II, 5, 5). Browning uses it in Blot in the Scut., Act I, 
1. 4; and Tennyson in Balin and Balan: "A spangled pursuivant." 

P. 24, 1. 792. foure dowty knyghtys = the virtues called " Cardinal " in accordance 
with the Platonic Ethics. These virtues together with the theological triad 
appear as maidens in Dantes Purg. (c. xxix) accompanying the chariot 
of the Church. This pageant of the advance of Virtue suggests that of the 
last five cantos of the Purgatorio. No doubt, such scenes occurred in the 
street processional plays. Note the pageant in the Anti-Claudianus with 
Reason as charioteer. (There is a vicar in Piers Plow, who said the only 
cardinals he knew were those sent by the Pope.) 

1. 808. Pacyence. In Piers Plow. Patience is described as a tree which 
grows in the heart and bears fruit of Charity. The tree is supported against 
the winds of the world, the flesh, and the devil by three props denoting the 
Trinity. 



Notes. 83 

P. 25, 1. 815. This line seems to be corrupted in the MS. which reads "was tra- 
pure was gay." Trapure refers to the "trappings" of the steed. Cf. Flow. 
and Leaf, 11. 244-5 : 

"With cloth of gold and furred with ermine 
Were the trappores of here stedes stronge. 
Wide and large, that to the ground dide honge" ; 
Lydgate, Min. P., p. 118 : 

" Trappours of golde ordeyned were for stiedis " ; 
Hawes, Past, of Pleas., p. 132 : 

" Wyth haute courage betrapped fayre and gaye 
Wyth shyning trappers of curiositie." 

1. 824. to steuyn. Stevene is always employed by Chaucer as a noun. It 
has here a verbal use probably from the necessity of the rime. There was, 
however, the older verb from stefnen (cf. M. E. Diet., Strat.-Brad.). 
Douglas has (II., p. 225, 1. 8): "towart the port thai stevin" = directed 
their ship; but this is from the Icl. stefna = prow. Chaucer has this set of 
rimes in Kn. Tale, 11. 1720-21 ; Troil. and Cris., III., 11. 1723-25; Leg. of 
G.IV., 11. 1218-19. 

1. 844. Poiierie. Poverty was a highly praised virtue in the Church. It is 
said in Piers Plow., Pas. xiv., that this virtue preserves men from the Seven 
Sins, for it (i) is hateful to Pride, (2) has few responsibilities, (3) does not 
win wealth falsely, (4) is the gift of God, (5) is the mother of health, (6) is 
without peril of robbery, (7) is a source of wisdom, (8) deals fairly with 
others, (9) is without care. Feigned Poverty is one of the Vices, 1. 657. 

P. 26, 1. 854. Konnyng with hys genalogy. That is to say the Seven Arts and 
Sciences. The seven sciences as originally distinguished were Mathematics, 
Geometry, Astronomy, Music, Ethics, Physics and Metaphysics. The seven 
arts were : Grammar, Dialectics, Rhetoric (the trivium) and Arithmetic, 
Music, Geometry, and Astronomy (the quadrivium). These are mentioned 
familiarly by all the learned writers of the Middle Ages. They were char- 
acterized also in the plays and pageants and such objectification gives 
meaning to the processional of the poem. In Lydgate's description of the 
King's entry into London there is an account of a spectacle representing the 
Seven Sciences The name of Priscian is associated with Grammar ("the 
roote of alle connyng"), Aristotle with Logic, Cicero with Rhetoric, Boethius 
with Music, Pythagoras with Arithmetic, Euclid with Geometry, and Albu- 
masar with Astronomy ("alder-highest"). In Piers Plow., the sciences ap- 
pear as sons of the Clergy, serving the Lord of Life in a castle (Pas. xiii). 
See Gower, Conf. Aman, Lydgate's Parle Roy, Chestre Plays (Wright, p. 241), 
Hallam, Lit. of Europe, etc. 

11.867-870. The Magical and Black Arts. The specific " Black Arts" wiere 
commonly five : Necromancy, Pyromancy, Geomancy, Hydromancy, and 
Aerimancy, signifying divination by means of the dead, fire, the earth, water, 
and the air respectively. These species are indicated by Huge de S. Vic- 
tore (see Skeat's Notes to Piers Plow., p. 246). Gower Couf. Aman., III., 
p. 45, describes these five kinds in detail; see also Lydgate's Seerees. As 
to the merits of the magical arts, opinion was divided. The Black Arts 
were almost universally denounced in this period in England. Alchemy 
and Physiognomy were, however, often employed. It seems that there was 
a revival of Magic, and especially of Alchemy, during Chaucer's and Lyd- 
gate's lifetime. But we find that sorcery, soothsaying and magic were pun- 
ished in London as early as 1382, the affirmation being that "the art of 
magic redounds against the doctrine of Sacred Writ " ; the punishment was 
exposure upon the pillory (Mem. of Lond., ed. Riley, II., pp. 462, 472, 518). 
A statute forbidding the practice of Alchemy was passed in 1403. The art 
was revived again at about the end of the century, so that Henry VI. 
appointed three Royal Commissioners to investigate the subject. Their 
report is dated 1456 (see The Antiquary, Sept. 1891, for documents illus- 



84 Notes, 

trating the revival of Alchemy at about the middle of the fifteenth century). 
We find that Alchemy was condemned by Gower {Conf. Am. II., p. 88); 
Alchemy and other arts by Langland {Piers Plow., Pas. x., 11. 207-15) ; the 
magical arts in general by Chaucer (in Ch. Yeo. Tale, and Pers. Tale) and 
Lydgate (in the present instance and Secrees st. 82-84 — though favorable 
to physiognomy, st. 353-54, and in Story of Thebes [fol. 390], where he 
condemns Bishop Amphiorax to hell as the mede of his idolatry and 
magic) and V>'A.x(i\z.y {Ship of Fools, II., pp. 18, 191, 2ig). As a matter of fact, 
Alchemy flourished in spite of condemnation and belief in it continued far 
into the seventeenth century (see Faery Qiieene, I., c. i., st. 36-37 and Sir 
Th. Browne, Works I., ch. x.). In Ward's O. E. Drai/ia, Introduction to 
Marlowe's "Dr. F'austus," the general attitude of the M. Ages toward magic 
and magicians is shown. See Secrees, notes, p. 93-95. 

1. 868. Glotony, This must be a mistake of the scribe for Alchemy. 

1. 870. Pawmestry. Divination by the lines of the hand. 

1.882. Ches. a. yEsop,Yzh. SA-Ii: 

"The crane chase a surgeon to be" ; 
Temp of Glas., 1. 214, 336 : 

"Would freli chese." 
Note leese 1. iioo. 

1. 886. 'ivare of contagious geere. Contagious geere = ? 

P.27, 1.887. ^^^'?- "Lere" here means learn; "]erne"in 1. 957 means teach. 
Cf. Temp, of Glas., 1. 297, 1021 = learn : 

" Fro dai to dai that I myghte lere " ; 
idem, 1. 656 = teach : 

" Than cometh dispeire and ginneth me to lere." 
Cf. Story of Thebes, fol. 378 : 

"The which beasts as the story ieres." 

1. 895. secte. Cf. Rom. of the Rose, 1. 5745 : 

" Eke in the same secte or sette." 

1. 896. See note on 1. 1997. 

P. 28, 1. 925. then I reherse can. Cf. Temp, of Glas., 1. 560 : " as I reherse can" 
and often. 

I. 932. Macrocosme. I interpret this to mean Microcosm from the interpreta- 
tion by Doctrine, st. 262. For the conception of Microcosm see Secrees, 

II. 2313-17: 

"In beeste nor thyng vegitable, 
Nothyng may be vnyuersally 
But yif it be founde naturally 
In mannys nature. Wherfore of oon accoord 
Oold philisoffres callvd hym the litel woord (worlde)." 
See also Slubbes, Anat. of Abuses, p. Ill : 

"And therfore, wheras in making of other things he used only this Woord, 
FiANT, be they made or let them be made, when he came to make Man, as 
it weare advysing himselfe and asking councell at his wisdome, he said 
Faciamus Hominem, let us make Man; that is a wonderful Creature : and 
therfore is called in Greek MiCROCOSMOS, a litle world in himself. And 
truely he is no lesse, whether we consider his spirituall soule, orhis humaine 
body, etc." 

For a fuller account of Man, the Microcosm, assailed by Vices and defended 
by Virtues, see Fletcher's Purple Island, the most dreadful of all the Holy 
Wars. 
1. 939. hygh -veyesfyue. All the old books make much of man's five senses. 



Notes. 85 

the high-ways of Mansoul. Note the use made by Bunyan of this conception 

in Holy War: 

"The famous town of Mansoul had five gates at which to come, and out 
at which to go ; and these were made likewise answerable to the walls, to 
wit, impregnable, and such as could never be opened nor forced but by the 
will and leave of those within. The names of the gates were these : Ear- 
gate, Eye-gate, Mouth-gate, Nose-gate, and Feel-gate." 

1. 941. blyiie. Cf. Chaucer, Bk. of the Duch. 1. 152 : 

" Go now faste, and hy thee blyve ; " 
ALsop, Fab, 4, 1. 206 : 

" With ravenous feete, wynged to flee blyue." 

P. 29, 1. 957. lerne hem a nezv daunce. A common saying with Chaucer and 
others. Cf. Rom. of the Rose, 1. 4300 : 

" For she knew alle the olde daunce." 
Cf. Chaucer, Troyl and Oys. II. 1. 554; Dr. of Ph. Tale, 1. 79; Cant. Tales, 
Pr. 1. 470. Cf. Gower Couf. Aman., I., p. 260 : 

"Now shalt thou singe an other songe." 
1. 974. dubbyd. Cf. Piers Pluw., Pas. i., 11. 1 02-3 : 
" For Dauid in his dayes dubbed knightes 
And did hem swere on here swerde to serue trewthe euere." 
In Ad. Dav. Dream (E.E. T., 1. 76) "dubbing" is a substantive and means 
decoration. 

P. 30, 1. 998. Reson. Reason is a common personification. See Rom. of the Rose, 
3034,3193; Lydgate's Min. P., p. 219; Piers Plozv. Pas. xv., xvi.; Dun- 
bar's Gold. Targe, 151, etc. In Piers Plow. Reason has many names: 
anima, animus, mens, memoria, ratio, sensus, conscientia, amor, spiritus. 
He plays an important part in the poem. 

1. 1009. One instance of a double negative. Cf. ALsop, Fab. 4, 1. 53 : 
" I may no favour do to nowther side." 

I. ID 1 2. hyng in hys balaunce. A very common figure. Cf. Temp of Glas 

II. 641, 348 ; Chaucer, Troyl. and Crys. II., 1. 466 : 

" And ek myn emes lyf is in balaunce." 
In Barclay's Ship of Fools is a wood-cut showing the world and things 
eternal in a balance. Cf. Spenser's figure in Faerie Queene V., ii., 30-49. 

1. 10 1 2. ambyguyte. Chaucer has amphibologyes, Troil. and Cris., iv., 1. 
1406. 

P. 31, 1. 1023. se-ve the felde. Lydgate probably had in mind the parable of the 
Sower. Langland has a parable of the ploughman in Pas. xix.; there the 
weeds of vice grow in the field but they are uprooted by the harrow of the 
Law. 

1. 1038. swage. I define as "discharge" but find no authority for it except 
the context. 

1. 1038. gonnes. The first mention of guns or "gonnes" as being in use in 
England is found in an inventory of munitions of war in a London document 
dated 1339 (see Mem. of London, tA.^\\Qy,\., p. 205), These "gonnes" 
were made of brass or "latone" and fired "pellets of lead," using gun- 
powder. Cf. Chaucer House of Fame, III., 1. 553 : 

"Swift as a pellet out of a gonne, 
When fire is in the powder ronne " ; 
Lydgate's Story of Thebes, fol. 392 : 

"Noise more hideous then thunder 
Of gonne shot." 
The word was also employed to designate a machine that cast stones. 
Cannon is mentioned in Barbour's Bruce (1375) Bk. XIX., 1. 399. Cannon 
had been used in Florence in 1326. 



86 Notes. 

P. 32, 1. 1063. adew=a beu. Gower has the phrase in Con/. Aman., III., p. 356: 
" Er thou make any such assaies 
To love and faile upon thy fete 
Better is to malce beau retrete." 
The word beau was commonly used in address as in Rotn. of the Rose, 1. 800 : 

"What do ye there, beau sir ?" 
Sir Gawain, E.E. T., 1. 1222 : 

" Nay, for sothe, beau syr " ; 
also House of Fame, 1. 643. Cf. Rich. Rede., Pas. iii., 1. i : 
"Now leve we this beu brid." 

1. 1063. ly/yll (yne. Cf. Skelton, Garl. of Lav r. 1. 505 : 

" A lytyll tyne stande backe " ; 
Heywood, Dialogue: 

" For when prouender prickt them a little tine." 
The two words generally occur together. See 1. 1283. 

1. 1066. dy lyklynes. Cf. Temp, of Glas., 1. 18; Chaucer, Am. Compl. 1. 15 
CI. Tale, II., 1. 200, etc. 

1. 1089. lozvle. Cf. yEsop, Fab. 2, 11. 17-18 . 

" Whan sulphur toward the dawenyng 
Lowtith to the oryent " ; 
Piers Plow., Pas. iii., 1. 115: 

" Knelynge, Conscience to the kynge louted." 
See also text, II. 1439, 1925, vnderlowte 1273. 
Cf. -i3rowning. Ring attd Book: 

"I have louted low." 

P. 33, 1. 1094. Perseueraiince. The accent as in Chaucer. 

1. 1095. f'ogy. Cf. Marlowe, Tamb. the Gt.: "my hugy host." This was 
Uryden's usage. 

P. 34» 11- 1 142-6. The way of repentance is made clear by Chaucer's Parson : "Now 
shalt thou understonde what bihoveth and is necessarie to verray parfyt 
penitence ; and this stondith in thre things, contricioun of hert, confessioun 
of mouth, and satisfaccioun." The first, said Patience in Piers Ploiv. (Pas. 
xiv.), saves men, the second slays sins, the third uproots sin altogether. 
Contrition and Confession appear as two horses that bear ripened grain to 
the house of Unity {Piers Plo7v. Pas. xix.). They are good dames in 
Hawes' J^ast. of Pleas., givmg sure passage to Purgatory to Graunde Amour. 
They are characters in the Moralities. The trinal stairs in Dante's Purga- 
torio (c. ix.) refer to these stages of repentance. All these figures refer to 
the creed of the Church as expounded for instance by Thomas Aquinas in 
his great work Summa Theologica (III. p. 90). 

1. 1 147- fro poosi to pylour. Cf. Barclay, Eclogues: 

" From post unto piller tost shall thou be." 

1. 1 1 54- Despair appears in Temp, of G, 1. 656. He was a common figure in 
the mediaeval imagination. Cf. Spenser's treatment of Despair. (See a 
paper by Dr. F. I. Carpenter reported in Univ. of Chicago Cal. Aug. '95.) 

1. 1 1 58. Alpha cnidOo. This occurs in the Creation, sc. I., York Plays, in the 
address of the Deity : 

" I am Alpha and O." 

P. 35, 1. 1 167. horow^^^xhviX. Cf. Chaucer, Ck. Tale 1. 204 : 

" For he hath slayn my two sones, but if God liem borwe " ; 
the old play, World and Child : 

"Some good word that I may sav 
To borow man's soul from blame." 
See also Piers PIouk Pas. iv, 1. 108-9. 



Notes. 87 

This word was often used as a noun as in Tem. of G las, 1. I14S : 

" And as for him I will bene his borow," 
and in the phrase " to borow " (^for a security). 

1. 1 169. tenebrtis, Cf. Hawes' Past, of Pleas, p. 15, 74 ; 

" Auster gan cover with clowde tenebrus " ; 
" The night was wete, and also tenebrous." 

\. 1 185. fly. This is the reading of MS. B. A has sty from stigen, to 
ascend. 

P. 36, 1. 1204. bettyr late t/ien neuer. Cf. Chaucer, Ch. Yeo. Tale, 1. 399 : 
" For bet than never is late." 

1. 1226. sothe. Cf. Chaucer, Pari. Fan., 1. 578, "sothe sadde"=sober truth. 

1. 1232. as a pleyer. Collier in a note on this passage {Annals of the Stage, 
p. 31) refers to player as an actor, interpreting the line to mean that Sen- 
suality must change his character like an actor. But "to drawe a draught" 
is used of games as chess. Thus Chaucer {Bk. of the Duch, 1. 682) has 

" I wolde have drawe the same draughte." 
In a work described by Collier {An. of Stage, p. 63) entitled The Church of 
Yvell men andwomoi players refers to gamesters, dicers, etc. 
"Player" would seem to mean here "gamester"; though it is possible that 
" draught " may be used here figuratively for " character " as Collier suggests, 

P. 37, 1. 1242. finaunce. Cf. Skelton, Erie of Nh., 1. 195 : 

"With thy bloud precious our finaunce thou did pay" ; 
the same line occurs in Percy's Reliques, I, p. 125. 

1. 1255. Reason in Microcosm. Cf. description of Reason in the Romaunt 
of the Pose,\\. 2ii()2, et .r^^., where she warns against the follies of Love. 
Chaucer's Parson says : 

"For it is soth, that God, and reasoun, and sensualite, and the body of man, 
be so ordeyned, that everich of these four thinges schulde have lordschipe 
over that other, as thus : God scholde have lordschip over reasoun, and 
reasoun over sensualite, and sensualite over the body of man." 
Cf. Lydgate Min. P., p. 219 : 

" Sith thu were wroughte to be celestial, 
Let reson brydle thy sensualite." 

1. 1256. recreau7it. This was a word which Knights uttered in acknowledg- 
ing defeat. " Yelde hym recreaunt" = yielded himself as a defeated knight. 
The oath taken by a combatant ran thus: "Je suis prest de le prouver de 
mon corps contre le sien,et le rendre mort ou recreant . . . et v^ez yy mon 
gage." The customary form of demanding surrender was : "And but thou 
yeeld thee as overcome and recreaunt thou shalt die." Cf. Sir Gawayne, E. 
"E. T., 1. 456 : 

"Therfore com other recreaunt be calde." 
Piers Plow. (Pas. xv, 1. 133) has "yelde hym creaunt" (as a believer?); 
"creaunt" is sometimes used for recreaunt in the sense explained above. 

1. 1267. astert. Cf. Chaucer, Fr. Tale, 1. 294: 

" He seith, he may not fro his deth asterte." 

P. 38, 1. 1268. Nature. Nature was given especial personification by Alanus de 
Insulis in his Planctus NatH7-cz (Wright ed., Rec. Ser., pp. 431-456). Chau- 
cer in the Pari, of Foules describes her as a Queen surrounded by the ani- 
mals of the earth and air (11. 298-301, etc.). In Langland's dream Nature 
appears and shows the wonders of the world (Pas. xi, 1. 311-25). She was 
an empress in the pageant that welcomed Henry VI. to London {Pur Le 
Roy). See the Faerie Queene VII, vii. 



88 Notes. 

1. 1274. sJwo f^7<:'/i?=shoe-cloth. Cf. Skelton, El. Rum, II. 143-4 • 
"Some vvvth a sho clout 
Bynde theyr heddes about." 
Browning his "clouted shoon" (Ring and Book, p. 321). 

1. 1299. blere. Cf. Rom. of the Rose 1. 3912: 

" That ahnoost blered is myn yhe " ; 
Chaucer, Ma mi. Tale, 1. 148: 

" Far al thy waytyng, blered is thin ye." 
See also Rv. Tale, 1. 129"; Piers Plow. Pr. 1. 74; Rox. Ballads I, p. 163; 
Milton's Comus, 11. 153-6: 

" To cheat the eye with blear illusion " ; 
Shaks. Tarn, of Shrew, V, i : 

" While counterfeit supposes blear'd thine eyne." 

P» 39» 1- 1311- astonyed. Cf. Tern, of Glas, 1. 24: 

" I wex astonved." 
I. 1 31 7. howe a deuyll way! Cf. Chaucer, Ml. Tale. Pr., 1. 26 : 

" Tel on, a devil way ! " ; 
idem, 1. 527 : 

" And let me slepe, a twenty devyl way" ; 
Ch. Yeo. Tale, Pr. 11. 229-30 : 

" And al the cost on twenty devel waye 
Is lost also" ; 
Leg. ofG. IVom., VI, 1. 292 : 

" A twenty devel way the wynde him dryve." 
1. 1327. longeth. Cf. Secrees,\. 1029: 

" Of all such vertues as longe to a kyng." 

P. 40, 1. 1340. Resydyuacio7t = back-sliding. The term occurs again in Skelton, 
Col. a. 11. 523-5 : 

"And of resvdeuacvon 
They make interpretacyon 
Of an aquarde facvon." 

P. 41, 1. 1384. wysshe. Cf. Chaucer, A. B. C. 1. 155; Ho. of Fame 11. 489-9 I; 
Temp, of Glas 1. 637 : 

" So wisse me now what me is best to do " ; 
Piers Plow. Pas. v, 11. 540-562 : 

" I shal wisse you witterly the weye to his place." 
1. 1386. as / sesse. Cf. Chaucer, Bk. of Dtich. 1. 35; Compl. of M. 1. 195 ; 
Pari, of Foil. 11. 160, 200, 223 ; Caut. Tales, Pr. 1. 82 ; A'nighi's Tale, 1. 192 ; 
Lydgate, Min. P., p. 54. Cf. Dunbar, Gold. Ta>xe, 1. 230 : 

" God Eolus, his bugill blew I gesse." 
I. 1403. Death and dread. Among the Roxburge Ballads (I, p. 312) is 
one which runs as follows : 

"Lament your sinnes, good people all, lament. 
Vou plainly see the Messenger is sent, — 
I meane grim Death, and he doth play his pgrt ; 
He stands prepar'd to strike you to the heart." 
This is accompanied by the cut of a hideous skeleton with a dart. Cf. Piers 
Plow. Pas. XX, 11. 19S-200: 

" And as I sect in this sorwe I say how kynde passed, 
And deth drowgh niegh me, for drede gan I quake, 
And cried to kynde out of care me brynge." 

P. 43> !• 1448- "i'ff- This word occurs in French law — mis en nre (Kelham). 
Its use was maintained in England through the l6th century. I find it in 
an early American poem, Wigglesworth's Day of Doom (1662) : 
"The best of men had scarcely then 
Their Lamps kept in good ure." 



Notes. 89 

1.1455. sesyne. A law term denoting the ownership of i)roperty. To take 
seizen refers to the ceremony of taking possession of one's freehold. Cf. R. 
of G. Chr. Keign of Wm. 1. 528 : 

"Ac wende him out of Normandie anon to Engelande 
Vorlo nime hastiliche seisine of is lande." 
See Morte Arthur (Th. MS.), 1. 3589- 

1. 146^. fyn fast shut. I make fyn an adverb with the force of very or 
completely. 'Ihe word finliche in the phrase "finliche well " ( ^ very well) 
occurs in Sir Bevis of Hamtoun 1. 4052; also afin with the same meaning in 
1.2577: "The beschop was glad afin." Chaucer uses fyn as an adj. in 
Troil. and Cris. V. 421 : "of fyne force " (^ of very need). Cf. our use of 
clean = completely, as in "clean laid aside," and of pure as "the pure 
death " (= death itself). 
P. 44 1479. her ber wallyd round about. Doctrine's arbor is probably in imita- 
' tion of the Garden of Mirth in Rom. of the Rose: 

" And when I hacl a while goon, 
I saugt a gardyn right anoon, 
Ful long and brood, and every delle 
Enclosed was, and walled welle, 
With highe walles enbatailled, 
Portraied without and wel entailled 
With many riche portraitures." — 11. 135-141. 
Cf. the Tower of Doctrine in II awes' Pastime of Pleasure, written in imita- 
tion evidently of Lydgate's arbor: Graunde Amour is taught wisdom by 
learned dames, the Seven Sciences. All these may be suggestions of the 
Noble Castle of Learning in Dante's Inferno (c. iv)with its scholastic walls. 

1. 1483. Wytte. In the homily of the Sawles Warde man is described as a 
house whose master is Wit. Wit's wife is named Will. 

1. i^()l. perfyte. Cf. Secrees, 11. 365, 387, 273 : "In parfight clernesse." 

1. 1509. dalyaunce. Dalyaunce in Lydgate seems always to refer to sp ech. 
See Schick's quotations, notes p. 91. In the Pilgrimage of Man "longe 
dalyaunce " translates the Erench " long parlement." Cf. Temp, of Glas, 
1. 291 : 

"Of port benygne, and of daliaunce (address) ;" 
^sop, Fab. 6, 1. 93 : 

"That we togydre may have oure daliaunce ; " 
Min. P., p. 71 : 

"Countrefeteth in speche and daliaunce;" 
Secrees, 1. 2706 : 

" Lawhyng visage is good in daliaunce." 

1. 1 5 12. myn ey gan I dresse. Cf. Temp, of Glas, 1. 850: 
"Gan cast hir eyen." 

P. 45, 11. 1515 ' ' seq. on tho ivalles was made tnemory, etc. 

Douglas evidently imitates these pictures of sacred history in his account of 
the refleclions seen in the mirror of Venus (Works I., pp. 57-59) — another 
poetical device of the same kind. See Introd., p. Ivii. 

1. 1538. Judyth. Judith is often mentioned in M. E. Lit. Cf. Chaucer, 
M.ofL. 7^/^,841; March. Tale, 1. 122; Monks Tale, 11. 561-584; Piers 
Plow., Pas. xvii., 1. 21, etc. The account of the O. E. epic of Judith was 
probably known by the side of the version in the Vulgate. 

P. 46, 11. 1562^/^^^. These pictures are drawn from the frescoes on monastery 
walls v'hereon it was customary to present the saints with their traditional 
attributes. Lydgate's descriptions represent late traditions — those of the 
13th and 14th centuries (note the attribute of St. James = the scallop shell, 
given him after the 13th century). The attribute of Peter was the key; 



go Notes. 

Paul held a sword ; James the Great was a pilgrim with a long staff, wear- 
ing a cape with a scallop shell on his shoulder or hat, etc. Other pictures 
were the " Martyrdoms " which represented the manner in which the saints 
were slain : Thomas by a spear, Philip on the cross, James the Less by a 
club, Bartholomew by flaying, Simon and Jude, always together, by a sword 
and club, etc. There will be remembered in this connection Albert Diirer's 
picture of St. Thomas who is seen holding a lance, and Angelo's Last 
Judgment where Bartholomew appears holding his skin in one hand and 
the knife with which he was flayn in the other. Many other pictures will 
be recalled — and this is a necessary process in reading Lydgate — of the . 
Apostles and Fathers as here displayed. For the emblems of the Apostles 
and Saints cf. Jameson, Sacr. and Leg. An. Cf. the Ormuluvi V. i., p. 201 
and note; Curs. Mun., p. 1218 ; Lyndesay's Afonarche, 11. 2279 et seq. 

P. 47i 1- 1583- Beede. One does not meet with many late references to Baeda. 
He is mentioned however, by Dante in Par. c. x., 1. 131 ; and by Wyclif 
(Works, I., p. 35; IIL, p. 477). 

1. 1584. Orygene. An Alexandrine Greek, born A. D. 185. Bitter contro- 
versy arose regarding his views on the final salvation of men, the transfor- 
mation of man's earthly body at the resurrection, etc. His " errors " are 
contained chiefly in his work, irepV apx<^v. A private "error" is also recorded 
of Origen to which reference here may be made. See Butler's Lives of Saints, 
ix., p 360. 

1. 1589- Sybyll. "The pictures of the Sybils are very common, and for their 
prophecies of Christ in high esteem with Christians." — Sir Th. Browne. 
In the account of Varro the sybils numbered ten. 

1. 1608. houyd. Cf. Chorl and Bird, 187: "Hovyng above his hedde " 
(said of a bird). 

1. 1614. gall. Gall-trees were those that, like the oak, bear bitter galls. 
Spenser has "trees of bitter gall" (Faery Queen, II., vii., st. 52). 

P. 48, II. 1618 el seq. 

The whole discourse of Doctrine is written in the light of Catholic doctrine 
and practice. There is a certain kind of ingenuity exercised in the handling 
of the materials, but beyond a skillful presentation of doctrine there is not 
the least display of poetic genius in all this part. 

P. 49. 1. 1657. made her beerdys on the «ifw g-^/^ = changed their purpose. Pals- 
grave defines "new get" as "guise nouvelle." Cf. Chaucer, Cant. Tales, 
I'r., line 682 : 

"Him thought he rood al of the newe get;" 
Ml. Tale, 1. 136: (a kirtil) 

"Schapen with goores in the newe get;" 
Skelton, Magnif., 1. 458 : 

" The courtly gyse of the newe let." 
Those who cut their beards in the latest fashion had a place in Barclay's 
Ship of Fools (I., p. 35). Cf. the phrase, "To make one's beard " = to 
deceive ; as in Chaucer, Reeves Tale, 1. 176 : 

"Yet can a miller make a clerkes herd." 
Cf. Ho. of Fame, 1. 689 ; W. of B. Tale, Pr., 1. 361. 

P. 50> k 1714- habu7tdaiince. So in Chaucer's Fortune, 1. 29. 

1. 1718. gryffyng. Cf. Secrees, 1. 2373 : 

" Which gryffyd on stokkys haue many braunchys." 

P. 51, 1. 1728. Cf. ^sop. Fab. 7, 11. 64-5 : 

" Men may at the ie se a pref 
Of this matere." 



Notes. 



91 



11. 1737 et seq. The Times. In the Calendar of the Cursor Mundi there 
are seven ages: (l) from Adam to Noah; (2) from Noah to Abraham ; 
(3) from Abraham to David ; (4) from David to Solomon ; (5) from Solomon 
to the birth of Christ ; (6) from the birth to the death of Christ ; (7) from the 
death of Christ to the Day of Doom, the period of Antichrist. 
Cf. also Wyclif, Works, I., p. 99. 

Govk'er has a reading of the Times similar to Lydgate (Prol. Conf. Am.), 
agreeing especially in the Time of War. 

P. 52, 1- 1772. thatys to sey. Very common in T.ydgate. Cf. Temp, of Glas, II. 311, 
426, 512, 715, 1 1 24, etc. 

I. 1784. prynte hit in thy mynde. A favorite phrase with Lydgate. Cf. Min. 
P., p. 36. 

P. 53, 1. 1S05. cast in a boon. Cf. Chaucer, Kn. Tale, 1, 319 : 
" We stryve, as doth the houndes for the boon." 

P. 54, 1. 1829. the lesse 7vorlde. This is Milton's "less universe" {Par. Reg., iv,, 
1. 458). Said Sir Th. Browne {Relig. Med.) : " That we are the breath'and 
similitude of God, is indisputable and upon record of Hoi) Scripture; but 
to call ourselves a microcosm, or little world, I thought it only a pleasant 
trope of rhetorick, till my near judgment and second thoughts told me there 
was a real truth therein." 

1. 1844. dampnacion. So Chaucer in Pd. Tale, 1. 38; A, B. C, 1. 167. 

1. 1852. inwarde wyttes. Man was regarded as having five outward and 
five inward wits. Cf. World and Child, Dods, I., p. 273: 
Age "Of the five wits I would have knowing. 
Pres. Forsooth, sir, hearing, seeing, and smelling, 
The remenant tasting and feeling: 
These being the five wits bodily. 
And, sir, other five wits there been. 
Age. Sir Perseverance, I know not them. 
Pres. Now, Repentance, I shall you ken. 
They are the power of the soul : 
Clear in mind, there is one 
Imagination, and all reason. 
Understanding and compassion." 
Hawes, in Pastime of Pleasure, enumerates the five inward wits as com- 
mon-wit, imagination, fancy, estimation and memory. The five senses -r- 
form the outward offices, being simply receptive gates, but the wits perceive 
and judge. From this distinction arose the figure of the senses as gates, or 
as highways of the soul. 

" Thet inewyt hys the dore-ward. 

The doren wyttes fyve " — Shoreham, Per. Soc, p. 55. 
" For tho (the five wits) be properly the gates. 
Through which as to the hert algates 
Cometh all thing unto the feire. 

Which may the mannes soule empeire " — Conf. Am., I., p. 52. 
The inward senses were then the faculties of the mind. Thus Lydgate 
says (Temp, of Glas), 11. 380-1 : 

"With al my reson and alle my ful mynde, and five wittes." 
The Five Senses were personated in Middleton's Triumph of Truth (1613). 
They appeared in character at the King's entry into London in 1603 and 
again at the Lord Mayor's Pageant in 1681 (Bullen). 

The different senses are enumerated in /Flfric's Homilies, O. E. Homilies, 
Sawles Warde, etc. Cf. Piers Ploiv., Pas. i., 11. 15-16 ; Wyclif's Tracts (III., 
p. 117)'. Tale of Mel.; An OrysouJt for sauynge of the fyve wyttes (Vern. 
MS. E. E. T., xvii); Interlude of the Four Elements; Lydgate's Min. P., p. 
253 ; J^aery Queene (XL, xi., st. 7); Pletcher's Purple Island; Bunyan's Holy 



9 2 Notes. 

War, etc. Cf. a modern book entitled The Five Gateways of Knowledge, by 
Dr. Geo. Wilson, and Lect. and Addresses, by Sir W. Thomson, on the Six 
Gateways of Knowledge. 

P. 54, 1. 1855. stremes. Cf. Temp, of G las, 11. 702, 582 : 

"For with the stremes of hir eyen clere." 

1. 1858. salens. Commonly found in the phrase "sauns faille," as in 
Chaucer, /^o. of Fame, 11. 1S8, 429; Man of L. Tale, 1. 403; the Court of 
Love, 1. 117 ("withouten faille," 1. 710); Rob. of B. Clwon., 1. 4507. Piers 
Flow. (Pas. xii, 1. 286) has " saunz reule;" Skelton, W/iy Come, 1. 426,' 
" saunz aulter remedy." 

1. i860, blyn. Cf. Rob. of B. Chi-on., 1. 2263: 

" Evere to brenne and nevere to blynne ; " 

Percy, Reliq., Ill, p. 46 : 

"On thy striking doe not blinne." 

P. 55» !• 1872. wyre. Cf. Chaucer, Ho. of Fame, 1. 979: 

" Tho gan I wexen in a were ; " 
Fom. of the Fose, 1. 4468 : 

"Withoute deceyte or ony were;" 
Piers Plow., Pas. xi, 1. iii ; xvi, 1. 3 ; Temp, of Glas, 11. 651, 906 and see 
Schick's notes p. 104. Cf. Dunbar's Man, sen thy Lyfe is ay in Weir. 

1. 1886. daryng as a dastard. Said in irony. 

1. 1887. Come o/=make an end. Probably our modern slang phrase 
" come off." It was in common usage in M. E. Cf. Chaucer, Troil. and 
Cris., II, 310: 

" Com of, and tel me what it is." 
Temp, of Glas, 1. 1272 : 

"Cometh off at ones, and do as I haue seide." 
See Schick's notes, p. 119, for further references; also Skelton, .^ag-wz/., 
1. 103: 

" Come of, therefore, let se." 

1. 1887. thy wytte slant a crooke. See also 11. 19 18, 1932. Cf. Chaucer, 
Ho. of Fame, 1. 621 : 

"Although that (wit) in thy hede full lyte is;" 
Lydgate, Chorl and Bird, Min. P., p. 191 : 

" Thy brayne is dul, thy witte is almoste gone ; " 
Piers Plow., Pas. i, 1. 138 : 

"'Thow doted daffe,' quod she, 'dulle arne thi wittes;'" 
and cf, Emerson, The Sphinx : 

" Dull Sphinx, Jove keep thy five wits." 

1. 1897. tonne. Lydgate has again (Min. P., p. 176) the rime tonne,sonne, 
and in Secrees, 11. 249-50. Referring to Diogenes Lydgate says : 
" His paleys was a litel poore tonne." 

P. S7> l- I952' as blak as a coole. Other objects of comparison with blackness 
were raven, crow, the devil, jet, ink and soot. Cf. Conf. Am., II, p. 335 : 
" With fethers blacke as any cole." 

!• 1953' cropyn in a mouse hoole. Cf. Skelton, Why Come, II. 289-91 : 
"Our barons be so bolde, 
Into a mouse hole they wolde 
Rynne away and crepe." 

P. 58, 1. 1997. my wyt ys soo thynne. See 1. 896. Middle Engl, writers were fond 
of acknowledging the weakness of their wits. Thus Chaucer confesses in 
the Prol. of the Tales (1. 746) "-My wit is short." His Marchant said (1. 



Notes. 93 

438) "My tale is doon, for my wit is thinne." Again the poet writes {Ho. 
of Fame, 11. 1179-80: 

" Ne can I not to yow devyse (Temp, of Fame) 
My wit ne may me not suffyse ;" 
and to describe the beauty of his lady {Bk. of the Ditch., 1. 898) : 

" Me lakketh bothe English and wit." 
Lydgate was even more self-depreciatory (for references see Temp, of Glas 
Introd. p. cxl-cxli and Secrees. p. xx;. 

"Make his wittes thynne " occurs in Ch. Yeo. Tale, Pr. 1. 189; cf. R. of B, 
Chron. 1. 113. 

P. 59, 1. 2008. knette. See line 991 knyt, 1186 knet. Cf. Temp, of Glas, 1. 1230, 
"The cnott is knytt." 

P. 60, 1. 2065. God knoweth and nat I. An allusion to Paul's saying, 11 Cor. xii, 
2-3- 
I. 2070. take the best, etc. Cf. Chaucer, N. Pr. Tale, 1. 623 : 

"Takith the fruyt and let the chaf be stille ; " 
Co7if. Aman. 1, Pr. p. 32 : 

" The chaf is take for the corne ; " 
Lydgate's Min. P. p. 149 : 

"Cheese we the roosys, cast away the thorn ;" 
idem, p. 173 : 

"Wedyde the cokkelle frome the puryd come;" 
Secrees, 1. 734 : 

"As vndir chaaf is closyd pure corn ;" 
idem, 1. 1224. 

" Woord is but wynd ; leff woord and take the dede ;" 
Story of Thebes fol. 370 : 

"Avoiding the chaffe . . . 
Enlumining the true piked graine." 

'P ,tl,\. 201^. three enymyes. The World the Flesh and the Devil were figura- 
tively spoken of as foes or robbers or wild beasts or adverse winds etc. In 
O. E. Homilies (Morris p. 241) they are described as foes and again as 
robbers. According to Boccaccio the three beasts which hindered Dante's 
progress represented these forces. In Piers Plow. (Pas. xvi) these are winds 
that blow against the tree of Patience. Chaucer's Tale of Mel. reads "Thou 
hast doon synne ageinst oure Lord Crist, for certes the thre enemyes of 
mankinde, that is to saye, thy flessche, the feend, and the world, thou hast 
y-suffred hem to entre into thin herte wilfully, by the wyndow of thy body, 
and hast nought defended thiself sufificiently agayns here assautis, and here 
temptaciouns, so that they have woundid thi soule in fyve places, that is to 
sayn, the dedly synnes that ben entred into thin herte by thy fyve wittes." 
""And thus it falleth 
That thorugh the fende and the flesshe and the frele worlde 
Synneth the sadman a day seuene sythes " {P. PI. Pas. viii, 1. 38-44)- 
The Devil was thought to work by Pride, Wrath and Sloth ; the World by 
Covetousness and Envy ; the Flesh by Gluttony and Lechery. Hawes gives 
a similar exhortation in Past, of Pleas: 

"Than in your mynde inwardly despyse 

The bryttle worlde, so full of doublenes, 

With the vyle flesshe, and ryght sone aryse 

Out of your slepe of mortall hevynes ; 

Subdue the devil! with grace and mekenes, 

That after your lyfe frayle and transitory, 

You may than live in joye perdurably." 

1. 2087. guerdoun. A favorite word of Lydgate's. Cf. ^sop. Fab. 3, 1. 64 ; 
Fab. 5., 11. 21, 25, 3S; Fab. 6., 11. 145, 165; Min. P. p. 76, "a gwerdonles 
guerdone "; Temp, of Glass, 11. 806, 1 139 ; Secrees, 1. 900, etc. 



94 Notes. 

\. 210^. benygne Ihesu. Cf. Lydgate's Testament Min. P. p. 236: "O 
gracious Ihesu ! benygne and debonayre." No one can question the 
piety of these monkish writers. Cf. Hawes' closing, the Past, of Pleas: 
"Nowe blessed lady of the health eternall, 
The quene of comfort and of heavenly glory, 
Praye to thy swete sonne whiche is infinall, 
To geve me grace to wynne the victory 
Of the devill, the vvorlde, and of my body, 
And that I may my selfe well apply 
Thy Sonne and the to laude and magnifie." 

Skelton, looking back upon such writers, especially upon Lydgate and his 
Assembly of Gods, acknowledges their authority — those poets 

" Whyche full craftely, 
Vnder as couerte termes as could be, 
Can touch a trouth and cloke it subtylly 
Wyth fresshe vtteraunce full sentencyously ; 
Dyuerse in style, some spared not vyce to wryte. 
Some of moralyte nobly dyde endyte." 

— Bowge of Court, Pr. 

To conclude, the significance of Lydgate in the history of literature I under- 
stand to be this : Taking his work in its entirety he seems to embody the forces 
that were shaping England during the late Middle Age in a more conspicuous 
manner than any other Middle English author. Chaucer stands out, of course, the 
supreme genius of the period, original and creative, the glory of the Court, the 
herald of the Renaissance. After Chaucer, in point of creativeness, ranks Lang- 
land the mystic, the scholar, the churchman, the prophet of the Reformation. Now 
the progress of literary history is often most clearly marked, as Mr. Gosse well 
maintains, in the less monumental figures of any period. The very genius of 
Chaucer and Langland removed them somewhat from the effects of environment. 
With Lydgate there is not much question of personal force. What is valuable in 
his work arises from his lack of originality and very incapacity as a poet. He is 
the product of his age - — at one time yielding himself to the Romantic tendency, 
spending his youth in pleasure, writing ballads, romances, plays and histories for 
the King and Court. Then the love of Mother Church detains him, he assumes 
the cowl, and lives and dies at Bury St. Edmund. As a result of living in his 
environment no other early English author can equal him in the scope of his 
interests. He copied and translated everything that came to his hand. His work 
embraces ballads, lyrics, epics, allegories, fables, moral romances, social satires, 
histories, philosophical and scientific treatises, hagiologies and devotional manuals. 
The Romantic and the Scholastic blend in him in this remarkable manner. 
Because of his contemporaneity his rewards accrued to him in his lifetime. He 
was patronized by the Court and lived in the favor of his fellow-poets. For a 
century his fame was maintained, and his influence was even stronger than Chaucer's 
upon Burgh, Hawes, the Scottish poets, and laureate Skelton — his fame and influence 
passing with the traditions that gave them effect. 

In the matter of language Lydgate is perhaps more typical of his period than 
Chaucer. Chaucer's whole linguistic system is for his time forced and artificial. 
Middle English does not have the regularity and certainty which Chaucer's usage 
seems to imply. Not a one of his successors could support his literary dialect. 
James's Quair, purposely composed in the Chaucerian manner, is artificial to the 
extreme. Lydgate's poetic incapacity compelled him to fall back upon the current 
speech. In short, in this, as in all other respects, Lydgate was the immediate 
product of his environment. He wrote not for all time but for an age. 



CATALOG OF PERSONS. 



(The numbers refer to lines except those marked st.= stanza). 



LYDGATE. 



The poet performs a twofold function ; 
he is one of the prime movers in the 
vision (v. especially his fear of Death, 
St. 277-286) and at the same time the 
conscious teller of the story, never 
forgetting the "gentle reader." (a) 
As an actor : goes forth to the lake's 
side and dreams, St. 1,2; accompanies 
Morpheus to the Court of Minos, st. 
3-5 ; attends the banquet given to 



the gods, St. 27-87 ; a spectator on 
the field of battle, St. 88-210; at the 
school of Doctrine, st. 211-290 (fears 
Death, st. 277-286); returns to his 
bed, St. 291, 292 ; awakes and writes 
St. 293-296. 

(d) References to himself as narrator, 
St. 76, 81, 160, 171, 214, 222, 228, 
229, 230, 294-301. 



THE DIVINITIES (at the assembly). 



Apollo, the God of Light, the giver and 
director of the banquet, st. 24, 25, 27, 
28, 30, 32, 34, 35, 36, 37, 55, 73, 103, 
189; interpretation by Doctrine, 237. 

Atropos, the God of Death ; is met by 
Discord, st. 60 ; makes complaint to 
'the gods, St. 61-71 ; is promised aid 
against Virtue, st. 72-75, 81-87; 
threatens the gods, st. 138 ; is anger- 
ed at the success of Virtue, st. 188- 
192; seeks the Lord of Light, st. 
198-199; is called Death, st. 201 ; is 
made master of Microcosm, st. 203, 
207-209; vanishes, st. 210; inter- 
pretation by Doctrine, st. 257-260 ; 
makes Lydgate to fear, st. 277-279 ; 
the fear of Death explained, st. 280- 
288. 

Aurora, the Goddess of the Dawn, the 
companion of Apollo at the banquet, 

St. 37, 55- 
Bacchus, the God of Wine, at the banquet, 
St. 51. 



Cerberus, the Porter of Hell; brings Eolus 
to the Court, st. 6, 79 ; to the banquet, 
St. 27 ; is sent to summon Vice, st. 
87-88; porter of Hel],st. 167. 

Ceres, the Goddess of Corn, at the banquet 
with Cupid, St. 42 ; said to be 
influenced by Phoebe, st. 52 ; inter- 
pretation by Doctrine, st. 245. 

Cupid, the God of Love, at the banquet, 
St. 43- 

Diana, the Goddess of the Wood and the 
Chase, complainant at the Court of 
Minos, St. 6-1 1, 22, 80 ; dismisses the 
case to attend the banquet, st. 25-27 ; 
is persuaded by Apollo to forgive 
Eolus, St. 28-34 ; at the banquet with 
Mars, St. 38-39 ; interpretation by 
Doctrine, st. 235-239. 

Discord, the Goddess of Strife, comes to 
the banquet but is given no seat and 
departs in anger, st. 59-60 ; conspires 
with Atropos, st. 60-62 ; interpreta- 
tion by Doctrine, st. 257-260. 



95 



96 



Catalog of Persons. 



Eolus, the God of the Winds, a prisoner 
at the Court of Minos, st. 6-26, 76- 
80 ; judgment is suspended for the 
banquet, st. 28-35 > is forgiven, pro- 
vided he give aid to Atropos against 
Virtue, st. 75, 81-84; interpretation 
by Doctrine, st. 233-234. 

Fortune, the Goddess of Chance, at the 
banquet, st. 46 ; interpretation by 
Doctrine, st. 246. 

Isis, the Goddess of Fruit, at the banquet, 
St. 48 ; interpretation by Doctrine, st. 
246. 

Juno, the Goddess of Riches, at the ban- 
quet, St. 40. 

Jupiter, the God of Wisdom, at the ban- 
quet, St. 39. 

Mars, the God of War, at the banquet, st. 
38 ; agrees to assist Atropos, st. 73- 

74- 

Mercury, the God of Language, at the 
banquet, st. 53 ; agrees to assist 
Atropos, St. 74. 

Minerva, the Goddess of War, or of Har- 
vest, at the banquet, st. 50, 

Minos, the Judge of "ell, in Court, st. 4, 
6-26, 79-80. 

Morpheus, the Shewer of Dreams (dwells 
in Fantasy 1. 35); leads Lydgate to 
the Court of Minos, st. 2-5, 79, to the 
palace of Apollo, st. 27 ; is sent to 
warn Virtue, st. 103-107 ; is given 
care of the five gates of Micro- 
cosm, St. 184-186 ; conducts Lydgate 
to the School of Doctrine, st. 210- 
212, 223, 231, 268, 270, 277 ; inter- 
pretation by Doctrine, st. 265 ; leads 
Lydgate to his bed, st. 290-292. 



Neptune, the God of the Sea, complainant 
at the Court of Minos, st. 6-7, 12- 
20, 80 ; dismisses the case to attend 
the banquet, st. 25-27 ; accepts 
Phoebe as arbitress, st. 34-3S ; at the 
banquet, st. 49 ; said to be ruled by 
Phoebe, St. 52; agrees to aid Atropos, 
St. 73 ; is requested by Phoebe to for- 
give Eolus and complies, st. 82-83 ; 
interpretation by Doctrine, st, 235- 
239- 

Othea (Athena), the Goddess of Wisdom, 
at the banquet, st. 44 ; counsels the 
gods, St. 75 ; is referred to, st. 82. 

Pan, the God of Shepherds, at the ban- 
quet, St. 47 ; serves as minstrel, st. 
58 ; interpretation by Doctrine, st. 
246. 

Phoebe, the Goddess of Waters, the Moon ; 
the mistress of Neptune, st. 35 ; at 
the banquet, st. 52 ; entreats Neptune, 
St. 81-83. 

Pluto, the God of Hell, father of Vice, st. 
86-87 ; at the Court in Hell, st. 4, 6- 
24 ; dismisses the Court for Apollo's 
banquet, st. 24-27 ; declares the 
complaint against Eolus, st. 29 ; at 
the banquet, st. 45 (how Eolus came 
into Pluto's power, st. 76-79); sends 
for his son Vice to overthrow Virtue, 
85-87 ; commands Vice, St. 138 ; "On 
in Pluto's name," 1. 1077. 

Saturn, the God of Cold, at the banquet, 
St. 40, 41 ; agrees to assist Atropos, 
St. 74. 

Venus, the Goddess of Love, at the ban- 
quet, St. 54. 



POETS AND PHILOSOPHERS. 

(waiters at the 'BANQUET, ST. 56-58; INTERPRETATION BY DOCTRINE^ 
FEIGNERS OF FABLES, ST, 24I-249.) 



Albert, 398. 
Arystotyll, 390. 
Aueroys, 394. 
Auycen, 394. 



Dorothe, 391. 

Dyogenes, 391, 1397, 1399. 
Esculapion, 396. 
Euclyde, 398. 



Catalog of Persons. 



97 



Galyen, 395. 
Hermes, 393. 
Ipocras, 395. 
Messehala, 392. 
Omere, 397. 
Orace, 397. 
Orpheus, 400. 
Ouyde, 397- 



Plato, 392. 
Saphyrus, 393. 
Socrates, 392. 
Sortes, 393. 
Sychero, 390. 
Tholome, 391. 
Virgyle, 397. 



THOSE SLAIN BY ATROPOS WITH HIS DART (sT. 64-69) 



Achilles, 474. 

Alexaunder, 464. 

Artour, 466. 

Cesar, lulius, 465. 

Charles, the Noble, 467. 

Cirus, 474. 

Cosdras, 473. 

Dauid, 466. 

Ector of Troy, 463. 



Godfrey of Boleyn, 469. 
Hanyball, 473. 
Hercules, 472. 
lason, 472. 
losue, 466. 

ludas Machabee, 468. 
Nabugodonozor, 470. 
Pharao, 47 1. 
Sypio, 473. 



THE MORALITIES. 



Virtue, Christ's Champion (1. 1 103). At- 
ropos complains to the gods that 
Virtue escapes his dart, st. 69-70 ; 
the gods conspire to conquer, st. 72- 
75, 81-87; '-S warned by Morpheus 
to prepare for the battle with Vice, 
St. 103-105 ; gathers his hosts, st. 
107-133 ; hastens to the field Micro- 
cosm, St. 135 ; charges his men to be 
guided by Grace, st. 136 ; gives 
knighthood to fourteen captains ; 
sends embassadors to Freewill ; en- 
gages in battle, st. 148-162; is com- 
pelled to retreat, St. 152; returns to 
the field, St. 160; overthrows Vice with 
the help of Preseverance, st. 162 ; is 
rewarded and blessed by Predestina- 
tion, st. 168-169; thanks God for the 
victory, st. 170 ; is sought for by some 
of Vice's host.st. 171-174; seeks rec- 
ompense from Freewill, st. 174-179 ; 
puts Reason and Freewill in charge 
of Microcosm, st. 180; charges Sen- 
suality to be guided by Sadness, st. 
181-183 ; gives to Morpheus the care 



of the five gates, st. 184-186; returns 
to his castle, st. 187 ; (Apollo informs 
Atropos that "*' tue is not in his 
jurisdiction, st. 190); sends messen- 
gers to Microcosm, st. 197 ; prepares 
the field against the coming of Death, 
st. 204-207 ; is exalted above the 
firmament, st. 216; interpretation by 
Doctrine, st. 261-266 ; the moral, st. 
297-301. 

Virtue's host, st. 109-132, pauses under 
the Sign of the Rood, st. 149 ; is pro- 
tected by the Shield of the Holy Trin- 
ity, St. 150. 

Imaginacion, messenger of Virtue, 748, 

757- 
Messengers = 

Prayer, 1377' 

Fastyng, 1377. 

Penaunce, 1377. 

Almesdede, 1378. 
Baptyme, the leading captain, 951, 1081, 

1090, 1105, 1198, 1211, 1216. 
Perseueraunce, captain of the rearguard, 

1094, 1115, 1125, 1129. 



Catalog of Persons. 



Constaunce, 1128. 

Knights, guides of Virtue's car=: 

Ryghtwysnes, 795, 1385, 1394, 1401, 

1418. 

Prudence, 796. 

Streyngth, 797. 

Temperaunce, 798. 
Seven chief captains = 

Humylyte, 801, 1142. 

Charyte, 804, 1435. 

Pacyence, 808. 

Lyberalyte, 81 1. 

Abstynence, 814. 

Chastyte,8i8. 

Good Besynesse, 821. 
Embassadors sent by Virtue to Freewill^ 

Reson, 998. 

Discresion, 998. 

Good Remembraunce, 998, 1452. 
Minor captains dubbed knights by Virtue 

(14) = 

Feythe, 986, 1082, 1089, 1105, 1196, 

1208, 1210, 1435. 

Hope, 986, 1082, 10S9, 1 105, 1 196, 

1435- 

Mercy, 986, 1194. 
Trouthe, 986. 
Ryght, 986. 

Resystence of Wrong, 987. 
Confession, 988. 
Contricion, 988. 
Satisfaccion, 988. 
Verrey Drede of God, 989. 
Performyng of Penaunce, 989. 
Perfeccyon, 990. 
Konnyng, 990. 
Good Dysposicion, 990. 
Tlie minor captains led by Grace; 1st 
group (57) = 
Grace, 853, 948. 
Trew Feythe, 828. 

Hoope, 828, 986, 1082, 1089, 1 105, 
I196, 1435. 
Mercy, 828, 986. 
Peese, 828. 
Pyte, 828. 
Ryght, 829. 
Trowthe, 829, 986. 



Mekenesse, 829. 

Good Entent, 829. 

Goodness, 830. 

Concorde, 830. 

Parfyte Vnyte, 830, 1082, 1105. 

Honest Trew Loue, 831. 

Symplycyte, 831. 

Prayer, 832, 1377. 

Fastyng, 832, 1377. 

Preuy Almysdede, 832, 1378. 

Artycles of the Crede, 833. 

Confession, 834, 988, 1143, 1429. 

Contrycion, 834, 988, 1 145, 1429. 

Satysfaccion, 834, 988, 1 146, I429. 

Sorow for Synne, 835, 1430. 

Gret Repentaunce, 835, 1430. 

Foryeuenes of Trespas, 836. 

Good Dysposicion, 836, 990, 1431. 

Resystence of Wrong, 837, 987. 

Performyng of Penaunce, 837, 989, 

1148, 1377, 1432. 

Hooly Deuocion, 838, 1431. 

Good Contynuaunce, 838. 

Preestliood, 839, 1424, 1426. 

Sacramentes, 839 ; the Sacrament of 

Eukaryst, 1428, 1439; Holy Unccion, 

1444. 

Sadnesse, 840, 1233, 1265, 1279, 

1349, I355> 1361, 1374, 135^0, 1436. 

Commaundementes, 840. 

Sufferaunce in Trowble, 841. 

Innocency, 841. 

Clennesse, 842. 

Continence, 842. 

Virginite, 842. 

Kyndnesse, 843, 

Reuerence, 843. 

Curtesy, 843. 

Content, 844. 

Plesyd with Pyteous Pouerte, 844. 

Entendyng Well, 845. 

Mynystryng Equyte, 845. 

Hooly Indyfferency, 846. 

Laboryng the Seruyce of God to 

Multyply, 847. 

Refuse of Rychesse, 848. 

Perfeccion, 849, 990. 

Parfyte Contemplacion, 849. 



Catalog of Persons. 



99 



Relygyon, 850. 

Profession well kept in Memory, 850. 

Verrey Drede of God, 851 (989). 

Holy Predycacion, 851. 

Celestiall Sapience, 852. 

Goostly Inspiracion, 852. 
Minor captains led by Cunning ; 2d 
group (17) = 

Konnyng, 854, 872, 876, 931, 99°, 

I105. 

Gramer, 855- 

Sophystry, 855. 

Naturall Philosophy, 856. 

Logyk, 856. 

Rethoryk, 856. 

Arsmetry, 857. 

Geometry, 857. 

Astronomy, 857. 

Canon, 858. 

Cyuyle, 858. 

Musyk, 858. 

Theology, 859. 

Physyk, 859. 

Moralizacion of Holy Scripture, 860. 

Poetry, 861. 

Drawyng of Picture, 861. 
Minor captains ; 3d group (9) = 

Moderat Dyete, 885. 

Wysdom, 885. 

Euyn Wyght & Mesure, 886. 

Ware of Contagious Geere, 886. 

Lothe to Offende, 887. 

Louyng ay to Lere, 887. 

Worshyp, 888. 

Profyt, 888. 

Myrthe in Manere, 888. 
Commons with Virtue, numbering one- 
tenth of Vice's host = 

Doctours, 897. 

Prestes, 899. 

Confessours, 899. 

Declarers of Holy Scripture, 900. 

Rebukers of synne, 901. 

Fysshers of fowles, 902. 

Lovers of clennes, 903. 

Dyspysers of veyn & worldly ryches, 

903- 

Prelates (pesyble), 904. 

LOFC. 



Gouernours (iustyciall), 904. 
P'ounders of churches, 905. 
Peeres (mercyfull), 905. 
Reformers of wrong, 906. 
Merchauntes (well menyng), 908. 
Artyfyceres (trew), 908. 
Vyrgyns, 909. 
Innocentes, 909. 
Matronys (hooly), 910. 
Contynentes, 910. 
Pylgryms, 911. 
Palmers, 91 1. 
Laborers (trew), 91 1. 
Hooly Heremytes, 912, 
Goddes Solycitours, 912. 
Monkes, 913. 

Freres (well dysposyd), 913. 
Chanons, 914. 
Nonnes, 914. 

Professours (feythfull), 914. 
Coniugatoures of worldly people, 
915. 

Louers of Cryst, 916. 
Confounders of yll, 916. 
All that to godward yeue her good 
wyll, 917. 

Mayntenours of ryght, 918. 
Verrey Penytentes, 918. 
Distroyers of errour, 919. 
Causers of Vnyte, 919. 
Performers of mercy and pyte, 921. 
Contemplatyf peple, 922. 
Vyce, son of Pluto, st. 86, 87 ; summoned 
by Pluto to do battle against Virtue, 
St. 87, 88 ; leads towards the field of 
Microcosm, st. 137-139; is charged 
by Pluto to overthrow Virtue, st. 138 ; 
dubbs fourteen knights; sends em- 
bassadors to Freewill, st. 144 ; sends 
Sensuality into the field to scatter 
evil seeds, St. 146-147; engages in 
battle, St. 149-150 ; is reinforced by 
Freewill, st. 151-152; causes Virtue 
to retreat, st. 152-155 ; is overthrown 
by Virtue, st. 160-162; leaves the 
field by a private gate and meets with 
Despair, st. 165 ; is driven to tor- 
ment by Prescience, st. 166-168; 



lOO 



Catalog of Persons. 



interpretation by Doctrine, st. 261- 

266 ; moral, st. 297-298. 
Vice's host, st. 89-103. 
Oryginal cryme= 

Messenger of Vice, 776, 781, 950, 

955- 
Seven chief captains^ 

Pryde, 621. 

Enuy, 622. 

Wrethe, 624. 

Couetyse, 626. 

Glotony, 628. 

Lechery, 630. 

Slowthe, 631. 
Embassadors sent by Vice to Freewill =: 

Temptacion, 1004. 

Foly, 1004. 

Sensualyte, 1004. 
Minor Captains dubbed Knights by Vice 

(14) = 

Falshood, 974, 643. 
Dyssymulacion 974, 636. 
Symony, 975, 636. 
Vsure, 975, 644. 
Wrong, 975>645- 
Rebawdy, 975, 648. 
Malyce, 976, 640. 
Deceyte, 976, 647. 
Ly, 976, 644. 
Extorcion, 976, 637. 
Periury, 977, 644. 
Diffidence, 977, 652. 
Apostasy, 977, 657. 
Boldnesse in Vll, 978, 648. 
The Minor Captains (75) = 
Sacrylege, 636. 
Symony 636, 975. 
Dyssimulacion, 636, 974. 
Manslaughter, 637. 
Mordre, 637, 
Theft, 637. 
Extorcion, 637, 976. 
Arrogaunce, 638. 
Presumpcion, 638. 
Contumacy, 638. 
Contempcion, 639. 
Contempt, 639. 
Inobedience, 639. 



Malyce, 640, 976. 
Frowardnes, 640. 
Gret lelacy, 640. 
Woodnesse, 641. 
Hate, 641. 
Stryfe, 641. 
Impacience, 641. 
Vnkyndnesse, 642. 
Oppression, 642. 
WofuU Neglygence, 642. 
Murmour, 643. 
Myschyef, 643, 
Falshood, 643, 974, 
Detraccion, 643. 
Vsury, 644, 975. 
Periury, 644, 977. 
Ly, 644, 976. 
Adulacion, 644. 
Wrong, 645, 975. 
Rauyne, 645. 
Vyolence, 645. 
False lugement, 646. 
Obstynacy, 646. 
Dysseyte, 647, 976. 
Dronkenes, 647. 
Improuydence, 647. 
Boldnes in Yll, 64S, 978. 
Foule Rybaudy, 648, 975. 
Fornycacion, 649. 
Incest, 649. 
Auoutry, 649. 
Vnshamefastnes, 650. 
Prodygalyte, 650. 
Blaspheme, 651. 
Veynglory, 651. 
Worldly Vanyte, 651. 
Ignoraunce, 652. 
Diffydence, 652, 977. 
Ipocrysy, 652. 
Scysme, 653. 
Rancour, 653. 
Debate, 653. 
Offense, 653. 
Heresy, 654. 
Errour, 654. 
Idolatry, 654. 
New Fangylnes, 655. 
False Pretense, 655. 



Catalog of Persons. 



lOI 



Inordinat Desyre of Worldly Excel- 

lense, 656. 

Feynyd Pouert, 657. 

Apostas)', 657, 977. 

Disclaundyr, 658. 

Skorne, 658. 

lelousy, 658. 

Hoordam, 659. 

Bawdry, 659. 

False Mayntenaunce, 659. 

Treson, 660. 

Abusion, 660. 

Pety Brybery, 660. 

Vsurpacion, 661. 

Horryble Vengeaunce, 661. 

Idylnesse, 666. 
Captains refused by Virtue who enter the 
service of Vice (st. 124-126) = 

Nygromansy, 867. 

Geomansy, 868. 

Magyk, 868 

(Glotony), 868. 

Adr3'omancy, 869. 

Ornomancy, 869. 

Pyromancy, 869. 

Fysenamy, 870. 

Pawmestry, 870. 
The Commons with Vice led by Idleness^ 

Bosters, 673. 

Braggars, 673. 

Brybores, 673. 

Praters, 674. 

Fasers, 674. 

Strechers, 674. 

Wrythers, 674. 

Shakerles, 675. 

Shaueldores, 675. 

Oppressours, 676. 

Crakers, 676. 

Meyntenours of querelles, 677. 

Lyers, 677. 

Theues, 678, 

Traytours, 678. 

Hery tykes, 678. 

Charmers, 679. 

Sorcerers, 679. 

Scismatykes, 679. 

Symonyakes, 680. 



Vsurers, 680. 
Multyplyers, 681. 
Coyn wasshers, 681. 
Coyn clyppers, 681. 
Vsurpers, 682. 
Extorcioners, 682. 
Bakbyters, 683. 
Closers, 683. 
Flaterers, 683. 
Murmurers, 684. 
Claterers, 684. 
Tregetours, 685. 
Tryphelers, 685. 
Feyners of tales, 685. 
Lurdeyns, 686. 
Pykers of males, 686. 
Rowners, 687. 
Uagaboundes, 687. 
Forgers of lesynges, 687. 
Robbers, 688. 
Reuers, 688. 
Ryfelers, 688. 
Choppers of churches, 689. 
Fynders of tydynges, 689. 
Marrers of maters, 690. 
Money makers, 690. 
Stalkers by nyght, 691. 
Euesdroppers, 691. 
Fyghters, 692. 
Brawlers, 692. 
Brekers of lofedayes, 692. 
Getters, 693. 
Chyders, 693. 
Causers of frayes, 693. 
Tytyuyllys, 694. 
Tyrauntes, 694. 
Turmentoures, 694. 
Apostates, 695. 
Relygyous dyssymulers, 695. 
Closshers, 696. 
Carders, 696. 
Hasardoures, 696. 
Tyburne coloppys, 697. 
Pursekytters, 697. 
Pylary knyghtes, 698. 
Double tollyng myllers, 698. 
Tapsters, 699. 
Hostelers, 699. 



I02 



Catalog of Persons. 



Hoores, 700. 
Baudys, 700. 
Blasphemers, 701. 
Ipocrytes, 701. 
Brothelles, 702. 
Brokers, 702. 
Swerers, 702. 
Dryuylles, 703. 
Dastardes, 703. 
Dyspysers of ryghtes, 703. 
Homycydes, 704. 
Poyseners, 704. 
Morderers, 704. 
Skoldes, 705. 
Caytyffys, 705. 
Clappers, 705. 
Idolatres, 706. 



Enchauntours, 706. 
Renegates, 706. 
Ambidextres, 707. 
Sekers of debates, 707. 
Pseudo prophetes, 708. 
Sodomytes, 708. 
Quelmers of chyldren, 709. 
Fornycatours, 709. 
Wetevvoldes, 710. 
Auouterers, 71 1. 
Auauntours of syn, 711. 
Clappers, 712. 
Makers of clamours, 712. 
Vnthryftys, 713. 
Vnlustes, 713. 
Luskes, 714. 
Loselles, 714. 



IN THE FIELD OF MICROCOSM (ms = macrocosm). 



The Field : is named Microcosm, 932 ; in 
the midst = Conscience, 934, Syn- 
deresys, 937 ; its lord = Freewill, st. 
143 ; approached by five highways 
open to the Vices and Virtues, st. 135 ; 
interpretation by Doctrine, st. 262, 
265. 

The battle : the field, first entered by 
Original Crime, st. iii = driven out 
by Baptism, st. 112 ; sowed with evil 
seeds by Sensuality, st. 146-148; the 
battle between the vices and virtues, 
St. 148-162 (won by Perseverance, st. 
157-162). 

Freewill, Lord of Microcosm, st. 143; 
receives embassadors from Virtue, st. 
143, from Vice, st. 144 ; gives an 
ambiguous answer, st. 145 ; takes the 
part of Vice, St. 1 51-152, 155; repents 
and seeks the counsel of Conscience, 
St. 163; is sent to Humility, Confes- 
sion, Contrition, Satisfaction and Pen- 
ance, St. 164; appears before Virtue, 
St. 174; blames Sensuality, st. 175- 
176; in recompense yields Microcosm 
to Virtue, St. 178-179; is made bailiff 
under Reason, st. 180. 
Prescience, sent from above the firma- 



ment by Alpha and Omega (v. 1. 1 158, 
1 176, 1467) to punish Vice, st. 166- 
167. 

Predestinacion, sent to reward Virtue, st. 
168-169; they vanish, St. 170. 

Vice's host ; scourged by Prescience, st. 
167 ; some seek Peace, Mercy, Faith, 
Hope, Baptism, Confession, Con- 
science, Circumcision, st. 171-174. 

Sadnesse, takes Sensuality prisoner, st. 
177 ; is given the guidance of Sensu- 
ality in Microcosm, St. 181, 183, 193; 
with Reason clears Microcosm of the 
evil weeds of Sensuality, st. 195 ; with 
Reason prepares the field for the 
coming of the Lord of Light, st. 206. 

Reason, rules in Microcosm, st. 180, 187, 
193. 195, 197, 206. 

Nature (has jurisdiction over living creat- 
ures, St. 65, 69, 190 ; has "carnal 
might," 1. 1 381) requires that Sensu- 
ality be given his liberty, st. 182; is 
powerless to help Atropos against 
Virtue, st. 194. 

Morpheus, is given charge of five gates 
of Microcosm, st. 185-186. 

Atropos, resolves to enter the service of 
God, St. 191 ; inquires the way to 



Catalog of Persons. 



103 



Righteousness, st. 198, 199 ; is called 
Death, st. 201 ; is given power in 
Microcosm, St. 203,207-209; vanishes, 
St. 210. 



The Lord of Light, received in Microcosm, 

St. 204-206. 
Resydyuacion, enters Microcosm but is 

repulsed, st. 192-195 ; interpretation 

by Doctrine, st. 266. 



THE ACCORD OF REASON AND SENSUALITY. 



Reason, an embassador of Virtue and 
ruler in Microcosm; Lydgate muses 
how he may make Reason and Sensu- 
ality to accord, st. i ; Reason- is sent 
by Virtue as an embassador to Free- 
will, St. 143 ; has no fear of Sensu- 
ality, St. 176; is given charge of 
Microcosm, St. 180 ; has guard over 
Sensuality, st. 187, 193 (v. 266); is 
superior to Nature, st, 194 ; with Sad- 
ness clears Microcosm of weeds, st. 
195 ; is directed by Prayer, Fasting, 
Penance and Almsdeed st. 197 ; shows 
Atropos the way to Righteousness, 
St. 198-199; with Sadness, cleanses 
the field against the coming of the 
Lord, St. 206 ; comes with Sensuality 
to Doctrine to clear up Lydgate's 
doubt, St. 276-279 ; Reason and 
Sensuality agree as to the fear of 
Death, st. 280-282 ; vanishes, st. 283 ; 
interpretation of the concordance by 
Doctrine, st. 287-288. 



Sensuality, an embassador of Vice to Free- 
will, and an ally of Nature ; Lydgate 
muses how he may make Sensuality 
and Reason to accord, st. i ; Sensu- 
ality is sent by Vice as embassador 
to Freewill, st. 144; sows evil seeds 
in Microcosm, st. 146-148, 153; is 
charged with corrupting Freewill, st. 
176; taken prisoner by Sadness and 
brought to Virtue, st. 177; is placed 
under the guidance of Sadness, st. 
180-18 1 ; his liberty plead for by 
Nature, st. 182 ; is denied freedom in 
Microcosm, st. 183; guarded by 
Reason, st. 187 ; meets with Residiva- 
tion but can do no evil, st. 193, 194; 
his evil weeds cut down by Reason 
and Sadness, st. 195; enters with 
Reason the School of Doctrine to 
clear up Lydgate's doubt, st. 276- 
279 ; agrees with Reason as to the 
fear of Death, st. 281 ; vanishes, st. 
283 ; interpretation of the concord 
by Doctrine, st. 287-288. 



IN THE SCHOOL OF DOCTRINE, st. 211-290. 
(a four-square arbor). 



Wytte, chief porter, st. 212. 

Teachers of the people = 

Dame Doctryne, st. 213-214, st. 229- 
231 ; as interpreter, st. 232-288. 



Holy Texte, st. 215. 
Close, St. 215. 
Moralyzacion, st. 215. 
Scrypture, st. 215, the Scribe, 



104 



Catalog of Persons. 



PICTURED ON THE WALLS : 

1ST AND 2D WALLS: TIMES OF DEVIATION AND REVOCATION. 

(The false gods are not here described). 



Adam, 1521. 

Eue, 1521, holding an apple. 

Noe, 1522, in a ship. 

Abraham, 1522, holding a flintstone. 

Isaac, 1523, bound on a mount. 

lacob, 1524, sleeping by a ladder. 

Joseph, 1526, in a cistern. 

Moyses, 1527, with two tables. 

Aaron, 1528, ) .• ,, , 

\, > supporting Moses' arms. 
Vrre, 1528, S 

Ely, 1529, in a burning car. 

Elyze, IJSO, clad as a hermit. 

Dauid, 1 53 1, with a harp and stone sling. 

leremy, 1532. 

Ezechiell, 1532. 

Danyell, 1533, in a lion's den. 

Abacuc, 1534. 

Mychee, 1534. 



Malachy, 1534. 

3D WALL = TIRIE OF RECONCILIATION. 



lonas, 1535, coming out of a whale's body. 

Samuell, 1536, in a temple. 

Zakary, 1536, by an altar. 

Osee, 1538, ) conspiring the death of 

ludyth, 1538, S Holof ernes. 

Salamon, 1539, dividing a child with his 

sword. 
Melchisedech, 1543, offering bread and 

wine, 
loachym, 1545, 
Anne, 1545, 

lohn Baptyst, 1547, in a desert. 
Sodechy, 1549, ) with faces toward 
Amos, 1550, ) Sophony. 
Sophony, 1 551. 
Neemy, 1552. 
Esdras, 1552. 

loob, 1553, as an impotent. 
Thoby, 1554, as patient. 



\ at the golden gate. 



Petyr, 1562, with keys. 
Poule, 1563, with a sword, 
lames, 1563, with a scallop. 
Thomas, 1564, with a spear. 
Phylyp, 1565. 
lames the lesse, 1566. 
Bartylmew, 1567, all flayn. 
Symon, 1568. 
Thadee, 1568. 



> as doctors. 



Mathy, 1569, ) 



drawing lots. 



Barnabe, 1569, 
Marke, 1570, a lion holding his book. 
Mathew, 1571, like an angel. 
Luke, 1573, a calf holding his book, 
lohn, 1574, with a cup and palm in his 
hand, an eagle holding his book. 



Gregory, 1576, 

lerome, 1576, 

Austyn, 1576, 

Ambrose, 1576, 

Bernard, 1578. 

Anselme, 1578. 

Thomas of Alquyn, 1579. 

Domynyk, 1579. 

Benet, 1580. 

Hew, 1580. 

Martyne, 158 1. 

lohn, 1 58 1. 

Crysostom, 1582. 

Beede, 1583. 

Orygene, 1584. 

Sybyll, 1589. 

Andrew, 1595, with a cross. 



Catalog of Persons. 



loS 



4TH WALL = TIME OF PILGRIMAGE, OR DANGEROUS PASSAGE, OR OF WAR. 

(See the battle of the vices and virtues.) 



DAME DOCTRINE. 
Dame Doctrine, interpreter of the vision, 
summons Lydgate to draw near, s't. 
231-232; interprets the imprison- 
ment of Eolus = unbridled wealth 
increases misrule, st. 233-234; Minos 
=Judge of Cruelness, st. 235 ; the 
complaint of Diana and Neptune^ 
the blindness of fools, st. 235-236 ; 
the dismissal of the court = forgetful- 
ness of fools, 237-239 ; the gods at the 
banquet = false idols, st. 240-249 ; 
the Time of Deviation, st. 241-249 
= from Adam to Moses ; the poets 
and philosphers = feigners of fables, 
St. 249 ; Time of Revocation = from 
Moses to Christ, st. 250-251 ; Time 
of Reconciliation=time of Grace, st. 
251-252; Time of Pilgrimage = time 



of war, St. 255 ; (the present battle 
between Vice and Virtue, st. 256) ; 
the complaint of Atropos = the con- 
straint of friendship (Discord and 
Death) st. 257-260 ; the battle be- 
tween Vice and Virtue = the moral 
struggle in the human soul, st. 261 ; 
Microcosm = the world of man, st. 
262 ; Perseverance = continuance of 
good living, st. 263 ; Prescience and 
Predestination = rewardersof viceand 
virtue, st. 264 ; the five keys given 
to Morpheus = the five inward wits, 
St. 265; Residivation = return to sin, 
St. 266 ; the accord of Reason and 
Sensuality=in the fear of Death, st. 
275-288 ; Doctrine vanishes, st. 290. 



OTHER NAMES. 



God, 1293, 1333, 1410, 1497, 1640, 1685, 
1748, 1754, 1818, 2065, 2088 ; Lord 
God, 1930 ; Lord, 1819 ; 2093, Lord 
of Glory, 2098 ; Fadyr, 2104 ; Alpha 
and Omega, 11 58, 11 76. 

Ihesu, 1121, 2105; Crysl, 1103, 1752, 



1775; Son of Man, 1755; Crystyn, 

1764. 
Mary, 2105. 
Devyll, 21, 1818, 2080. 
Peleus, feast of, 413. 
Phebus, the sun, i, 361. 
Pictagoras, 3. 



CATALOG OF PLACES. 



A lake, st., i. 

Lydgate's habitation, st., 2. 

The Court of Minos in Pluto's realm, st., 4. 

The Palace of Apollo, st, 27, 36, 107, 192. 

The Palace of Virtue, St., 187. 

The field of Microcosm, st., 134, 135. 



The school of Doctrine, a four-square 
arbor, st., 212. 

Fantasy, 35, the dwelling place of Mor- 
pheus. 

Synay, Mount of, 1747. 



GLOSSARY. 



(For a fuller explanation of many words see the Notes.) 



Abew, 1063. See be^v. 

Abhominable, adj., 711, abominable. 

Aboorde, 248. See borde. 

Abusion, sb., 660, abuse. 

Abydyng, »b., 34, dwelling place. 

Abyte, vb., 194, abides, remains, 

Accusement, sb., 160, accusation. 

Adryomancy, sb., 869, (Aero-? or Hy- 
dro-?) divination by air (or water). 

Adulacion, sb., 644, flattery. 

Afore, adv., 1120, before. 

Afray, sb., 729, battle. 

Aftyr, prep., 76, in accordance with ; 
aftyr, adv., 1024, afterwards. 

Agayn, prep., 100 and often, against. 
See ayene. 

Aldyrs, 490, 579, gen. pi. of all, althrys 

599- 

Allyaunce, sb., 991, alliance. 

All be, conj., 476, al-be-it. 

Aloft, adv., 10 1, in the air, on high. 

Altherlast, 186, last of all. 

Aly, sb., 18 10, ally. 

Ambidextres, sb., 707, double dealing 
persons. 

Ambyguyte, sb., 10 12, ambiguity. 

Anone, adv., 14, 16 15, soon. 

Apply, vb., 485, incline. 

Aray, sb., 282, 296, dress. 

Arere, adv., 962, to the rear. 

Armure, sb., 931, armor, weapons. 

Arow, 763 = a row, host. 

Asaute, vb., 5S8 -, sb., assawte, 1049, 
assault. 

Asay, vb., 980, try. 

Asondre, adv., 66, asunder. 

Aspyed, vb., 1368, spied. 

Astert, vb., 1267, escape. 

Astonyed, vb., 131 1, astounded, dis- 
mayed. 



Astyrlabes, sb. pL, 1896, instruments for 

taking altitudes of the sun and stars 

(astrolobes). 
Ateynt, vb., 362, disgraced, afflicted with 

sorrow. 
^twene, prep., 2006, between. 
Atwyx, prep., 1966, between. 
Auaunce, vb., 954, advance ; imper., 

avaiint, 1 121. 
Auauntage, sb., 727, 1033, advantage. 
Auauntours, sb., 711, boasters. 
Auaylyd, vb., 19, helped ; avale, vb., 360, 

bow down — perhaps = to have force. 
Auenaunt, adj., 885, agreeable, handsome. 
Auentur, sb., 944, chance, adventure. 
Auoutry, sb., 649, adultery; auouterers, 

711. 
Avowe, sb., 983, vow. 
Auyse, vb., 866, advise; sb., 1352, advice. 
Auysment, sb., 140, deliberation. 
Awayters, sb., 1741, waiters. 
Awter, sb., 1537, altar. 
Ax, vb., 520, ask ; axyd, 1383. 
Ay, adv., 119, 256, 966, ever. 
Ayene, prep., 19, and often, against. See 

agayn. 
Ayeyn, adv., 63 and often, again. 

Bake, sb., 1905, back. 
Balaunce, sb., 1012, scale, decision. 
Bankes, sb. 105, shores of the sea. 
Banket, sb., 188 and often, banquet. 
Batayll, sb., 753, loio, etc., battle. 
Baudys, sb., 700, bawds. 
Bawdryk, sb., 285, belt. 
Bayll, sb., 1259, bailiff. 
Baytys, sb., 596, lures. 
Be, vb., 115 and often, been. 
Bedene, adv., 277, together, in order, or 
perhaps an expletive. 



106 



Glossary. 



107 



Beforn, adv., 819; before, 1792, before. 

Begoon, vb., 441, suffered. 

Begylyd, vb., 571, diverted. 

Beheste, sb., 481, promise. 

Behoue, sb., 1260, advantage. 

Beleue, sb., 1679, belief. 

Bende, sb., 11 72, band, company. 

Benedycyte, 1594, bless ye, equivalent to 
thank God. 

Benygne, adj., 1224, gracious, benignant. 

Beseene, vb., 275, 823, bedecked adorned. 

Beseke, vb., 1929, beseech. 

Beset, vb., 297, beset, studded with orna- 
ments. 

Beshut, vb., 1 169, shut up. 

Bespreynt, vb., 258, sprinkled. 

Bestadde, vb., 1106, placed, sorely im- 
perilled. 

Besy, adj., 563, 746, 181 1, busy, anxious. 

Bettyr, sb., 882, better. 

Betyn, vb., 105, beating (?) or beaten. 

Bew, adj., 1063 (beu) good, fine. 

Blere, vb., 1299, make dim. 

Blyn, vb., i860, cease from. 

Blyue, adv., 941, quickly. 

Bone, adj., 720, ready; bowne, vb., 716, 
prepared. 

Boorde, sb., 1242, conversation; boorde 
388, table ; aboorde 248. 

Boote, sb., 135 1, help, succor. 

Borow, vb., 1 167, bail out, secure. 

Boystous, adj., 127, 156, boisterous, noisy. 

Brayde, vb., 499, started up. 

Breched, vb., 325, dressed with breeches. 

Breede, vb., 599, grow, breed. 

Brennyng, vb., 1529, burning. 

Brokers, sb., 702, receivers of stolen 
goods. 

Brybores, sb., 673, robbers, beggars. 

But yef, conj., 89, 490, unless. 

Caltrop, sb., 773, an iron instrument scat- 
tered in battlefields to impede cavalry. 

Carders, sb., 696, card players. 

Carnall, adj., 1381, worldly, fleshly. 

Carpe,vb., 402, play, speak; carpyng,i,%q. 

Castaway, sb., 1274, something of no 
value. 



Caytyffys, sb., 705, caitiffs. 

Certeyne, adv., 112 and often, certainly. 

Chamelet, sb., 320, camlet, a woven fab- 
rik of wool and cotton, or of goat's 
hair and silk. 

Chare, sb., 506, car. 

Chases, sb., 58, open hunting grounds. 

Chaunse, sb., 996, chance. 

Chere, sb., 263, 284, face, countenance ; 
greeting, 418, 423. 

Chese, vb., 882, chose. 

Chyders, sb., 693, scolds. 

Chyne, vb., 536, to open in cracks or 
fissures. 

Chyst, sb., 1300, chest. 

Claterers, sb., 684, tattlers. 

Clause, sb., 136, proviso. 

Cloke, sb., 1503, cloak. 

Closshers, sb., 696, "closh "-players. 

Clowte, sb., 1274, clout, rag. 

Cofres, sb., 273, coffers for money. 

Coloppys, sb., 697. See note. 

Columbyne, adj., 374, dovelike, like the 
flower (?) 

Comfort, sb., 65, 532, pleasure ; 206, con- 
fidence; 488, help, support; corn- 
forty d, vb., 761. 

Comon, adj., 1938, familiar. 

Compace, sb., 1881, space. 

Conceyte, sb., 1989, thought, idea. 

Concordaunce, sb., 2005, agreement. 

Condescendyd, vb., 1974, agreed. 

Condycyons, sb., 322, states, circum- 
stances. 

Confound, vb., 506, destroy; 1042, ?pass; 
confounders, 916, 

Coniecture, sb., 1694, opinion. 

Coniugatoures, sb., 915, uniters. 

Constreynyd, vb., 49, urged, compelled. 

Context, adj., 1503, woven firmly. 

Contumacy, sb., 638, resistence to au- 
thority. 

Corner, sb., 35, secluded place. 

Correccion, sb., 91, 486, correction, fine. 

Cost, sb., 119, coast; 952, region. 

Costlew, adj., 296, costly. 

Couerture, sb., 1723, covering, conceal- 
ment. 



io8 



Glossary. 



Coueyte, vb., 1476, covet. 

Counterfete, vb., 212, construct. 

Cowchyd, vb., 287, 308, inlaid, laid in 
order. 

Craft, sb., 1 7 10, business, 11 34 crafti- 
ness. 

Crakers, sb., 676, braggarts, noisy fellows. 

Croppe, sb., 620, stem of a plant. 

Cropyn, vb., 1953, crept. 

Cruell, adj., 41, 471, harsh, severe, cruel ; 
crewelnes, sb., 1643. 

Crysmatory, sb., 1444, a vessel for 
chrism. 

Cryspe, adj., 374, fresh. 

Culuer, sb., 1608, dove. 

Curas, sb., 345, cuirass, breastplate. 

Cure, sb., 59, 455, care. 

Cure boyle, 617, hard leather; v. note. 

Cyrcute, sb., 757, circuit. 

Cysterne, sb., 1526, cistern. 

Dalyaunce, sb., 1509, talk. 
Dampnacion, sb., 1844, damnation. 
Darkyd, vb., 1193, lay hid. 
Dastard, sb., 1886, coward; pi. 703. 
Date, sb., 425, date, time. See note. 
Daungere, sb., 96, 527, 543, 2084, power; 

165, 445 refusal. 
Debonayr, adj., 144 1, gentle. 
Defaute, sb., 460, default ; ? vb., 782. 
Dele, vb., 146, deal, distribute; deele, 

1634, have dealings. 
Dell, sb., 1333, part; dele, 1027. 
Deme, vb., 1068, think, judge. 
Demenyng, sb., 269, demeanor. 
Deputate, vb., 1641, appointed. 
Dere, vb., 600, injure. 
Dereygne, vb., 612, set in order, fight. 
Desert, sb., 1288, merit. 
Desperate, adj., 28, causing despair. 
Desyreth, vb., 138, demands. 
Disclaundyr, sb., 658, slander. 
Disport, sb., 531, pleasure. 
Do, vb., 54 and often, done. 
Dolour, sb., 735, grief. 
Domynacion, sb., 191 1, domination. 
Doole, sb., 487, dole, portion. 
Dotyng, adj., 1394, foolish, childish. 



Dowte, sb., 761, looi, 1321, 1929, doubt; 
vb., 523. 

Dowty, adj., 792, brave. 

Draught, sb., 1232, drawing, move at 
chess. 

Dresse, vb., 534, direct, reach, prepare ; 
myn ey gan I dresse, 1 5 12. 

Dryuylles, sb., 703, idiots. 

Dubbyd, vb., 974, conferred knighthood. 

Dure, vb., 1777, last, extend; dnryd, 751. 

Duresse, sb., 1270, restraint. 

Dynt, sb., 487, dint, stroke. 

Dyscordyd, vb., 1973, differed. 

Dyscrese, vb., 232, decrease. 

Dysdeynyd, vb., 168, refused. 

Dysgysyd, vb., 343, dressed, tricked out. 

Dysport, sb., 67, 531, 671, pleasure, rec- 
reation. 

Dyspurueyde, vb., 723, unprepared. 

Dysseyte, sb., 647, deceit. 

Dysvsyd, vb., 1400, disused, out of use. 

Effecte, sb., 1617, 1916, conclusion, mean- 
ing. 

Efte, adv., 560, again. 

Eftsones, adv., 1007, immediately. 

Egall, sb., 154, equal. 

Eke, adv., 247, also. 

Elles, adv., 33, else; ellys, 161. 

Enbrowderyd, vb., 332, embroidered. 

Enforme, vb., 785, inform. 

Enhaunse, vb., 999, increase, raise. 

Entent, sb., 108, purpose; 451, attention, 
effort; thentent, 1904. 

Entresse, sb., 1941, interest. 

Equyte, sb., 495, justice. 

Er, Ere, adv., 8, 1558, before. 

Eschew, vb., 961, avoid. 

Estate, sb., 27, 424, state, place, rank. 

Euerychoon, 1806, each one. 

Euesdroppers, sb., 691, eves-droppers. 

Euyll, adv., 38, in an evil manner. 

Evyn, adv., 162, at the time ; 202, evenly; 
adj., 886, even. 

Execute, vb., 53, bring to bear. 

Exorte, vb., 1488, teach, advise. 

Fade, vb., 70, wither, decrease. 



Glossary. 



109 



Fall, vb., 230, fall ; 10, fallen, pp.; 124, 
befall; 558, happen; fell, 530, hap- 
pened ; fyll, 367, was fitting. 

Fande, vb., 131, found. 

Fantasy, sb., 35, 2050, fancy; fantasyes, 
pi., 1854. 

Fare, vb., 810, proceed. 

Fasers, sb., 674, hypocrites (facers). 

Fauset, sb., 357 faucet. 

Fawchon, sb., 283, falchion. 

Fawcon, sb., 803, falcon. 

Fayne, adj., 1 1, inclined, desirous. 

Fee, sb., 995, domain. 

Feere, sb., 1952, fear. 

Feet, sb., 1064, deed. 

Fell, adj., 434, cruel (many ?). 

Fendes, sb., 1412, fiendes. 

Fenyx, sb., 810, phoenix. 

Fere, 52, iti fe>-e^\n company. 

Ferre, adv., 102, 1613, 1627, I9i3far; 
ferther, 1932. 

Feruent, adj., 1448, vehement. 

Fet, vb., 544, bring, fetch. 

Feynt, adj., 80, 359, weak, lacking color 
and energy. 

Finaunce, sb., 1242, fine, forfeiture. 

Flayn, vb., 1567, flayed. 

Foly, sb., 1631, 2097, foolishness, sin. 

Fone, sb., pi., 1748, foes. 

Foom (?), sb., 104, foam. 

Forteresse, sb., 187, palace; 303 figura- 
tively as strong-hold. 

Forse, sb., 1057, matter, consequence, no 
fojse^no matter. 

Forsothe, adv., 211, 581, in truth. 

Foryete, vb., 239, forgotten. 

Fowtyn, vb., 1826, fought. 

Foyson, sb., 408, abundance, plenty. 

Frese, sb., 325, a cloth. 

Froward, adj., 1816, ungovernable ; /r£>- 
wardness, 640. 

Fructuous, adj., 900, fruitful, profitable. 

Fury, sb., 53, judgment. 

Fygure, sb., 1725, form of speech. 

Fyn, adv., 1463, very. 

Fysenamy, sb., 870, physiognomy. 

Gaderyd, vb., 760, gathered. 



Galaunt, adj., 296, splendid, gay. 

Gall, sb., 1614, nut-gall. 

Gan, vb., 202, 534, began, and used as 

auxiliary = did. 
Gape, vb., 1316, desire, stand in expecta- 
tion of. 
Garnysshyd, vb., 377, adorned. 
Gastes, sb., 754, guests, (cf. Lat. hostis) 

followers. 
Gate, vb., 1836, won. 
Gawdy, adj., 320, gaudy, perhaps dyed 

with weld. 
Geere, sb., 886 ? riches (or ? jeer). 
Genalogy, sb., 854, lineage. 
Geomansy, sb., 868, divination by earth. 
Gesse, vb., 1386, think, suppose. 
Get, sb., 1678, 1657, fashion. 
Getters, sb.. 693, ? swaggerers or ? thieves. 
Gladyd, vb., 383, made glad. 
Glosyng, adj.; 2081, flattering; glosers, 

sb., 683, flatterers. 
Go, vb., 1396, gone. 
Gonnes, sb., 1038, guns. 
Goostly, adj., 852, spiritual. 
Gramercy, 575, many thanks, 
Greefe, sb., 47, harm; 216, sorrow. 
Grogyng, sb., 217 (grochyng) grumbling, 

malice. 
Grounde, sb., 304, reason, agency, 1690, 

place. 
Gryffyng, sb., 17 18, grafting. 
Guerdoun, sb., 2087, reward. 
Guy, vb., 1720, guide. 
Guytornes, 970, (Pguydons) cavalry flags. 
Gyldyn, adj., 367, golden. 
Gymlot, sb., 357, gimblet. 
Gyse, sb., 1965, manner. 

Habundaunce, sb., 17 14, abundance. 
Habylyte, sb., 1247, ability. 
Habytacle, sb., 11, habitation. 
Happyd, vb., 419, chanced. 
Hasardoures, sb., 696, gamblers. 
Haunt, sb., 1295, dwelling; hauntyd, II9. 
Heede, sb., 10, head. 
Heede, sb., 1815, care. 
Hele, sb., 1853, health. 
Hem, pr., 1636 and often, them. 



no 



Glossary. 



Her, pr., 47, 65, 1635, their. 
Berber, sb., 1479, arbor. 
Hermyne, sb., 266, ermine. 
Herowde, sb., 719, herald. 
Heuynesse, sb., 186, slowness, 10 heavi- 
ness. 
Heynous, adj., 962, hateful, reprehensible. 
Hit, pr., 62 and often, it. 
Hogy, adj., 1095, huge. 
Holly, adv., 2014, wholly. 
Hoole, adj., 967, whole. 
Houyd, vb., 1608, hovered. 
Howe be hit, conj., 1081, how-be-it. 
Hulke, sb., 88. 

Hy, vb., 765, hie; hyghyd, 941, hied. 
Hydyr, adv., 604, hither. 
Hygh, adj., 73, great. 
Hygh-weyes, sb., 1460, high-ways. 
Hyghyd, vb., 941, hastened. 
Hym, pr., 128 and often, them ; also him. 

Impotent, sb., 1553, sick man. 
Inconuenyent, sb., 415, inconvenience. 

lape, sb., 525, jest, mockery. 
lugement, sb., 161, the court sentence, 
lurysdyccion, sb., iiii, power, 
lust, vb., 1099, joust. 

Karyk, sb., 88, cark, a kind of ship. 
Kendall, adj., 356, describing a kind of 

cloth. 
Keruell, sb., 87, caravel. 
Knowleche, sb., 529, knowledge. 
Knyt, vb., 991, united ; knet, 1 186 ; knette, 

2008. 
Konnyng, sb., 854, wisdom. 
Krany, vb., 536, crack into fissures. 
Krauers, sb., 534, crevice. 
Kynde, sb., 1647, nature; 1544, kind. 
Kyrtyll, sb., 332, an outer garment. 

Lak, sb., 369, lack. 
Langoure, sb., 1853, languor. 
Lappyd, vb., 126, wrapped. 
Large, sb., 1239, liberty. 
Largely, adv., 1637, freely. 
Largesse, sb., 1327, liberty. 



Lastyuyous, adj., 686, lascivious. 

Laurer, sb., 791, laurel. 

Lawe, vb., 404, laugh. 

Leese, vb., iioo, lose. 

Leme, sb., 1609, light. 

Lere, vb., 887, learn. 

Leme, vb., 957, teach. 

Lesynges, sb., 687, lies. 

Let, vb., 1130, hinder ; 251, avoid, neglect; 
529, given; 956, let; sb., 319, 
hinderance. 

Lewde, adj., 403, worthless, perhaps 
loud; sh.,lewdenesse, 1633, free action. 

Loft, see aloft. 

Longeth, vb., 1327, belongs. 

Loore, sb., 2074, wisdom, lore. 

Lore, vb., 1309, lost. 

Loselles, sb., 714, worthless fellows, lorels. 

Lothe, adj., 881, loath. 

Lowte, vb., 1089, 1439, 1925, bow, yield. 

Lurdeyns, sb., 686, block-heads. 

Luskes, sb., 714, lazy fellows. 

Lust, sb., 1307, strength, desire; 1277, 
wish. 

Lyeftenaunt, sb., 1254, lieutenant, repre- 
sentative. 

Lyght, adv., 1201, lightly. 

Lyke, vb., 225, please. 

Lyklynes, sb., 1066, probability. 

Lyst, vb., 1007, wished; 1291, wish. 

Lythe, vb., 105, lies. 

Mace, sb., 476, mace. 

Malapert, adj., 503, impudent, forward. 

Males, sb., 686, pockets. 

Manaces, vb., 61, threatens. 

Maner, sb., 69, kind of ; on a inaner, 5 ; 

any maner wey, 1735- 
Marre, vb., 556, destroy. 
Mastresse, sb., 243, mistress, governess. 
Mawgre, prep., 1381, in spite of. 
Mede, sb., 756, merit. 
Medewes, sb., 259, meadows. 
Mekyll, 92, "inasmekyllas" ; mochyll, 

1813. 
Mene, sb., 1 195, mediator; adj., 946, mean. 
Mene, adj., 1720, mean, low. 
Merueyle, sb., 103, marvel, wonder. 



Glossary. 



Ill 



Messe, sb., 257, plate, table. 

Mesure, sb., 84, degree, out of tnesHre= 

beyond due degree or bounds. 
Meuyd, vb., 145, proposed; ttteve, 431, 

propose. 
Meynt, vb., 361, mingled. 
Meyny, sb., 853, followers, army, meyne, 

774- 
Monacorde, sb., 7, agreement. 
Moo, 863, 1600; more, i6ob, moore 1791. 
Mood, sb., 1 57 1, manner. 
Mortall, adj., 732, 1450, deadly. 
Mowte, vb., 1 95 1, been able. 
Mowthe, sb., 2060, mouth. 
Multyplyers, sb., 371, 681, money 

makers. 
Murre, sb., 329, murre, a cold in the 

throat. 
Muryd, vb., 1460, enclosed, walled. 
Myscheue, vb., 523, do harm; sb., mys- 

chyef, 620. 
Myddes, sb., 934, midst. 
Myte, sb., 1607, 1814, mite, thing of no 

value. 

Ne, 1 197 and often, not. 
Nere, adv., i, nearly. 
Newe, adv., 562, newly. 
Next, adj., 551, nearest. 
Noonys, 502, nonce. 
Nouelte, sb., 1705, new thing. 
Noy, vb., 774, annoy. 
Nygromansy, sb., 867, divination by the 
dead. 

Obstacle, sb., 9, hinderance. 

Odoryferous, adj., 336, fragrant. 

Offyce, sb., 494, employment. 

On, sometimes written 00, 117, one. 

Onwarde, adj., 162, further. 

On lyue, 185 1, alive. 

Oon, 6 and often, one. 

Oonys, adv., 1127, once. 

Opteygne, vb., 1353, obtain. 

Or, conj., 752, ere. 

Ordynatly, adv., 203, in good order. 

Ordynaunce, sb., 245, decision, law. 

Ornomancy, sb., 869, divination by birds. 



Ospray, sb., 813, the fish hawk. 

Ost, sb., 668, host ; hooste, 1 124, cf. Fr. ost. 

Othes, sb., 502, oathes. 

Ouches, sb., 297, jewels. 

Outher, conj., 33, either; owther, 480. 

Overstert, vb., 1593, ? overlooked. 

Oweth, vb., 91, is under obligation, fol- 
lowed by an objective clause intro- 
duced by an infinitive, with to, as in 
Chaucer. 

Pak, sb., 368, company. 

Panter, sb., 822, panther. 

Parable, sb., 1987, parable. 

Parciall, adj., 153, partial. 

Parde, 619, 1275, (par Dieu). 

Party, adj., 316, partial, favoring one 

party. 
Pase, sb., 632, step, way. 
Passyd, vb., 368, surpassed. 
Patent, sb., 496, written bond of office. 
Pauyse, vb., 1640, used reflexively — bring 

to pause. 
Pawmestry, sb., 870, divination by the 

hand. 
Paynym, adj., 1679, pagan. 
Penowns, sb., 970, small banners. 
Pere, sb., 808, equal. 
Perfyte, adj., 1491, perfect. 
Permyssyue, adj., 1731, permitted. 
Perpetuell, adj., 899, constant. 
Pesecoddys, sb., 493, pea-pods. 
Pety, adj., 827, inferior. 
Peyne, sb., 746, 181 1, pain, trouble. 
Plenteuous, adj., 408, plenty, cf. O. F. 

plentevous. 
Plesaunce, sb., 798, pleasure; plesere, 197. 
Plyght, vb., 1473, pledge. 
Polytyk, adj., 1742, wise. 
Ponderously, adv., 9, heavily. 
Posternes, sb., 1296, 1849, gates. 
Poudryd, vb., 266, powdered. 
Praters, sb., 674, trifling talkers. 
Precept, sb., 1682, command. 
Predicament, sb., 1329, in logic = a 

general class. 
Prefyxyd, vb., 549, appointed. 
Preparate, vb., 1467, prepared. 



Glossary. 



Presse, sb., 256, throng; 1755, torment. 
Prima facie, 157, at first view. 
Prophetyssa, sb., 1589, propiietess. 
Proue, vb., 1728, test, determine. 
Prykeryd, adj., 328, prick-eared. 
Prynte, vb., 1784, impress. 
Pryse, sb., 1354, contest. 
Pseudo-prophetes, sb., 708, false prophets. 
Purfylyd, vb., 266, trimmed. 
Purpur, sb., 306, purple garments. 
Purseuaunte, 776, messenger. 
Puruey, vb., 75, provide ; 946, prevydyd; 

i02g, purveyde. 
Puruyaunce, sb., 956, 1433, provision, 

plan. 
Put, vb., 761, 1090, bring to a condition 

of; pui out, 1 48 1, expel. 
Pyke, vb., 1348, betake. 
Pylary, adj., 698, pillory. 
Pylow, sb., 12, pillow. Cf. Chaucer's 

pihve. 
Pylyons, sb., 1577, priests' hats. 
Pyne, sb., 216, punishment. 
Pyromancy, sb., 869, divination by fire. 
Pyry, sb., 126, storm of wind. 

Quelmers, sb., 709, killers, (infanticides). 
Quod, 1477, said; 1210, quoth. 

Rancour, sb., 235, enmity, malice. 
Ray, sb., 550, striped cloth. 
Recorde, vb., 272, remember. 
Recouer, vb., 769, ? cover over, win. 
Recreaunt, adj. 1256, defeated. 
Redolence, sb., 161 1, fragrance. 
Reft, vb., 564, deprived. 
Reherse, vb., 83, relate. 
Reioyse, vb., 532, make glad. 
Rekke, vb., 560, care, reck. 
Relese, vb., 883, rehearse. 
Reproche, sb., 71, reproach. 
Rerewarde, sb., 1094, rear gaurd. 
Resorte, vb., 63, return. 
Respyte, sb., 170, postponement. 
Resydyuacion, sb., 1340, back-sliding. 
Retourne, vb., 100 (active), turn back. 
Reuers, sb., 688, robbers. 
Reyne, vb., 2086, reign. 



Roode, sb., 1040, cross. 

Route, sb., 388, 438, company. 

Rought, vb., 1 197, reached. 

Rowne, vb., 12, consult with; rownyd, 
142, consulted with; ro-anyd, 421, 
whispered; rowners, sb., 687, whis- 
perers. 

Russet, adj., 325, coarse. 

Rybaudy, sb., 648, ribaldry. 

Ryght, adv., 191, very. 

Rynde, sb., 66, bark (tree). 

Sabatouns, sb., 346, sabbatons, armorial 

coverings for the feet. 
Sad, adj., 270, 390, 1561, earnest, serious. 
Safe, conj., 402, except. 
Safecondyte, sb., 89, 490, safe-conduct. 
Sakcloth, sb., 290, sackcloth. 
Sanctuary, sb., 1446, a sacred place. 
Sauns, prep., 1858, without, (v. Nares' 

Glos.). 
Sauerys, sb., 336, odors. 
Sauoryd, vb., 338, smelled. 
Scalop, sb., 1564, scallop-shell. 
Scisme, sb., 411, division. 
Se, pr., 376, she. 
Secte, sb., 895, sect, kind. 
See, sb., 365, seat. 
Seere, adj., 1459, dry, withered. 
Seethe, sb., 97, restoration. 
Sekerly, adv., 787, surely. 
Sentence, sb., 136, 458, decision; 1863, 

truth. 
Sequelys, sb., 871, followers. 
Sercote, sb., 276, surcoat, outer coat. 
Sesyd, vb., 1744, ceased. 
Sesyne, sb., 1455, possession (a law term). 
Set, vb., 2016, settled. 
Sew, vb., 219; 5^,238, entreat; sewyd, 

1 1 98. 
Sewe, vb., 1023, sowed. 
Sewerte, sb., 449, surety. 
Sewre, adj., 524, sure. 
Shakerles, sb., 675(?). 
Shaueldores, sb., 675 (?). 
Shent, vb., 1092, destroyed, shamed. 
Shoures, sb., 322, gifts ; shoure, 732, 

struggle. 



Glossary. 



"3 



Slepyr, adj., 1026, 1069, slippery. 

Smokke, sb., 377, smock. 

Sobre, adj., 1233, sad ; 1660, sober. 

Sodomytes, sb., 708, fornicators. 

Soort, sb., 619, troop, company; sorte, 

1489. 
Soot, sb., 618, soot. 
Sore, adv., 341, greatly. 
Sothe, sb., 1226, truth. 
Sotyll, adj., 1694, i7oi> subtle. 
Sought, vb., 788, went. 
Sownde, vb., 1688, sound. 
Sowneth, vb., 1302, tends, inclines; 

sqjvnyd, 1987, seemed. 
Spere, sb., 3, sphere; speres, pi., 1698. 
Spreynt, see bespreynt. 
Stadde, see bestadde. 
Stale, vb., 2040, stole. 
Stant, vb., 1887, stands. 
Stede, sb., 340, place; 11 29, steed. 
Steuyn, vb., 824, proclaim, announce. 
Stoute, adj., 313 — said of eyes; 439 — 

said of words: haughty, resolute, bold- 
Strayte, adj., 45, strict; adv., 539' 

narrowly. 
Strechers, sb., 674, ? liars. 
Stremes, sb., 1855, streams. 
Streyngthe, vb., 751, strengthen. 
Streytyd, vb., 1633, restricted, put in 

bonds. 
Styrt, vb., 566, started. 
Superfluyte, sb., 1824, superfluity. 
Superfyciall, adj., 538, pertaining to the 

surface, 
Sustynaunce, sb., 336, support, living. 
Sy, vb., 1058, saw. 
Sygne, sb., 1442, miracle. 
Sykerly, adv., 270, surely. 
Sylogyse, vb., 19, reason, contend, argue. 
Symonyakes, sb., 680, simonists. 
Synderesys, sb., 937, syneresis. 
Syngler, adj., 71, special. 
Syth, conj., 1354, since. 
Sythe, si)., 127, time. 
Swage, vb., 1038, ? discharge. 
SwemfuUy, adv., 1223, sorrowfully. 
Swet, sb., 104, 2044, sweat. In 2044 said 

of bodv. 



Take, vb., 59 and often, taken; iakyn 

1626. 
Tane, vb., 2013, taken. 
Tayll, sb., 754, company, number. 
Teche, vb., 1701, teach; taught, 1 23 1. 
Tendre, vb., 135, consider, have a care 

for. 
Tenebrus, adj., 11 69, dark. 
Than, adv., 89 and often, then. 
The, pr., 52 and often, thee. 
Then, conj., 1607, than. 
Tho, pr., 447, those. 

Thorough, prep., 70, on account of (pre- 
ceded by where); thorow, 2061. 
Thought, sb., 1234, 1360, 2051, anxiety, 

care; 1 99 1, thought. 
Thryd, 1776, third. 
Thynne, adj., 1591, thin. 
To, adv., 511 and often, too. 
Tong, sb., 367, tongue. 
Tonne, sb., 1897, tub. 
Trapure, sb., 815, trappings, 
Traunse, sb., 15, trance. 
Trauayll, sb., 1971, work, 
Trayne, sb., 773, snare. 
Tregetours, sb., 685, jugglers. 
Trespase, sb., 221, injury, offense. 
Triumphall, adj., 2087, triumphal. 
Trouthe, sb., 1473, troth. 
Trow, vb., 957, believe; 1386, know 

trcncyJ, 432. 
Try (out), vb., 2071, separate. 
Tryacle, sb., 12, a medicine, (cf. treacle). 
Tryfyls, sb., 1854, trifles, cheats. 
Trypartyte, adj., 1031, divided into three 

parties. 
Tryphelers, sb., 685, cheaters, 
Tweyne, sb., 1966, two. 
Tyburne, sb., 697. See note to this line. 
Tyde, sb., 334, time. 
Tylthe, sb., 1710, cultivation. 
Tyne, 1063, tiny (generally preceded by 

little, as here). 
Tytyuyllys, sb., 694. See note on line 

b94. 

Vnbrydelyd, vb., 1630, unrestrained. 
Vnderlowte, sb., 1273, servant. 



114 



Glossary. 



Vndyrtake, vb., 233, 1390, 141 1, be surety, 

promise. 
Vnkynde, adj., 1023, unnatural, cruel. 
Vnlustes, sb., 713, idle men. 
Vre, sb., 1448, use, practice. 
Vsyd, vb., 117, was accustomed to do. 
Vtter, adj., 594, absolute. 

Valewyng, vb., 1607, valuing. 
Varyaunce, sb., 244, difference, dispute. 
Vaward, sb., 602, van. 
Verrey, adj., 918, 2002, true. 
Veryly, adj., 2042, truly. 
Vouchesafe, vb., 2019, granted. 

Walewyng, vb., 557, wallowing. 

Wanton, adj., 378, sportive; 1230, reck- 
less; sb., wantones, 1362, 1635. 

Ware, adj., 128, aware. 

Wede, sb., 377, garment. 

Wedyr, sb., 530, weather. 

Welde, vb., 670, wielded. 

Wele, sb., 56, 210, weal, prosperity. 

Wende, vb., 739, 1623, go; see wene. 

Wane, vb., 278, 985, think, suppose; wen- 
yng, 1 65 1, 17 13; wend, 239; wende, 

1344- 
Weryd, vb., 379, wore. 



Wetewoldes, sb., 710, tame "cuckolds. 
Wax, vb., 1369, 1415, grow. 
Whan, conj., i, when. 
Whedyr, conj., 24, whether, 
Wharaas, adv., 118, where. 
Whereon, adv., 48, whereof. 
Whew, sb., 1316, 2049, hue. 
Whore, adj., 400, white; whore-berdyd- 

hoar-bearded. 
Whyle, sb., 129, time. 
Wood, adj., 1314, mad (also 7nad 347). 
Woote, vb., 621, knows; wete, lOII. 
Wrapped, vb., 1383, wrapped. 
Wrethe, sb., 417, wrath. 
Wrought, vb., 1882, done. 
Wrythers, sb., 674 ? 
Wyght, sb., 987, 1034, man. 
Wyre, sb., 1872, doubt. 
Wyse, sb., 51, manner. 
Wysshe, vb., 1384, direct, recommend. 
Wyt, sb., 896, wisdom. 

Ydiote, sb., 1963, idiot. 

Yef , conj., 56, 63, etc., if. 

Yeua, vb., 17, 77, give. 

Yuy, sb., 355, yew. 

Ywys, adv., 879, 1056, certainly. 



SPECIAL PHRASES AND PROVERBS. 



All and some, 192, each and all, llie 
^\ hole mailer. 

In especiall, iiO, 1445, 1599, especially. 

By and by, 202, iheii; 302, 800, one 
afler Ihe olher. 

More and lesse, 306, 536, more or less ; 
I2b4, altogether. 

Lest and moost, 766, 784, high and low 
degree. IMosl or leste, 480. 

To or fro, 24. 

Fer and wyde, 626. 

Make and marre, 556. 

For feyre or foule, 475. 

For the nonnys, 502, for the nonce. 

Out of mesure, 84, 102, beyond measure 
or reason. 

What in the deuyllys date, 425, exclam- 
atory. 

Howe a deuyll way, 1317, exclamatory. 

Croppe and roote, 020, the whole of any- 
thing. 

Roote and rynde, 66, the whole tree. 

Kepe noon in store, 151, keep nothing in 
reser\e. 

Not worth a peere (pear), 597. 

Then a myte, 1607; nat a myte, 18 14, 
niyle—z. small thing. 

Rekke nat a strawe, 560. 

Nat yeue two pesecoddys, 493. 

Bryght as glas, 270. 

Breched lyke a bere, 325. 

Grene as any gresse, 334. 

Here shone as wyre of goold bryght, 

37,v 
As a goste came in wyndyng shete, 420. 
Tomblyng as a ball, 557. 
Harde as glas, 614. 
Hard as horn, 61 8. 
Blakker then soot, 618. 
Slepyr as an yele, 1026. 



As a castaway or a shoo clowte, 1274. 

Close as in a chyst, 1300. 

Coloryd as a crystall, 1603. 

Darke as a myste or a feynyd fable, 

1988. 

Wyt ys oute where hyt went ynne, 

1999- 
Dreuyn to her wyttes ende, 1665. 
My wyt ys so thynne, 1907. 
Ferre ys fro the wytte and ferther good 

mende, i()32. 
Thy wytte stant acrooke, 1S87. 
For feere I lookyd as blak as a coole. I 

wold haue cropyn in a mouse hoole, 

1952-53- 

Howe the game gooth, 426, how the 
matter stands. 

Ledeth by the sleue, 1680, causes to fol- 
low submissively, cf. take me by the sieve 
14, 2033. 

Cast in a boon (of contention), 1805. 

Hit hyng in hys balaunce, 1012, it de- 
pended upon his deci.^ions. 

Of all maner greynes she sealyd the 
patent, 292; cf. "wen\ng in her 
honde had levu all ])ower of cornys 
habundaunce" 1713-14; v. 449, ye 
seelyd my patent. 

Take the mantell and the ryng, 267, 
vow perpetual widowhood. 

Varyaunt Fortune, 31S. 

Taught to drawe another draught, 1232, 
taught to make another move — to do 
differently. 

Lerne hem a new daunce, 957, teach 
them a new motion. 

Fro poost to pylour was he made to 
daunce, II47, he was driven from 
one thing to another without jjurpose. 



115 



^ 



ii6 Special Phrases and Proverbs. 



Made her beerdys on the new gete, 1657, He ys nat as he doth apere, 2083. 

changed their minds. As good ys ynowgh as a gret feste, 2035. 

The bende of your bowe begynneth to Such as ye haue sowe must ye nedes 

slake, 1243-44. reepe, 1244-45. 

Put in prese, 1755, enter into torment. Bettyr were a chylde to be vnbore 

then let hyt haue t>e wyll and for 

Hemustnedysgothatthedeuelldryues, euerbelore, 1308-9. 

21. Wealth unbrydelyd encreseth mys- 

Where vertew occupyeth must nedys rewle, 1631. 

well grow, 1372. Fooles ouercome ay wyse men, 1661. 

A false myrrour deceyueth a mannys Try out the come clene from the chaff, 

look, 1727. 2071 -"take the best and let the 

Bettyr late then neuer, 1204. worst be," 2070. 
Bettyr be dede than a lyve, 518. 



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